The Daily Front Row by DAILY FRONT ROW INC

september

6-7, 2014

fashion media awards 2014

stefano tonchi Carine Roitfeld Graydon Carter Katie Grand Inez van Lamsweerde & Vinoodh Matadin Kate Upton Naomi Campbell Kevin Oâ&#x20AC;&#x2122;Malley Humberto Leon & Carol Lim Ying Chu

stefano tonchi and rihanna photographed by mert & marcus

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Source: GFK/MRI Spring 2014 (includes HGTV prototype)

Congratulations to our own Fashion Media award honorees Kevin o’Malley, Publisher of the Year, ELLE, and Carine roitfeld, Creative Director of the Year, Harper’s BAZAAR. You prove that thinking big is not just about driving $43 billion in fashion and accessories sales. Or September issues that are the biggest in ELLE’s, Harper’s BAZAAR’s & Marie Claire’s history! It’s about continuing a tradition of winning industry honors—and endless readers—by exploring what’s next. And challenging every notion of what a magazine company can be.

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PERSON OF INTEREST’S SARAH SHAHI AT THE FOUR SEASONS LOS ANGELES AT BEVERLY HILLS. PHOTO: CHRISTOPHER ROSS. STYLING: CHRIS CAMPBELL. DRESS, CORSET, BRACELET AND EARRINGS: DOLCE & GABBANA.

LIGHTS. GLAMOUR. ACTION.

HOT TALENTS. EXOTIC LOCATIONS. EXQUISITE STYLE. AN INSIDER’S LOOK AT THE WORLD OF ENTERTAINMENT.

THE BIG BANG THEORY’S MAYIM BIALIK CELEBRATES THE CITY OF LIGHT PHOTOGRAPHED AT LE BRISTOL HOTEL, PARIS

FOR ADVERTISING OPPORTUNITIES OR MEDIA KITS: PUBLISHER MICHAEL RIZZI (MICHAEL.RIZZI@CBS.COM) FOR EDITORIAL INQUIRIES: EDITOR IN CHIEF JEREMY MURPHY (JEREMY.MURPHY@CBS.COM)

THE

» CBS MAGAZINE

MEMORY LANE!

FIRST NAME BASIS!

When did you first meet Mrs. H? About 25 years Caryn Zucker ago, at a charity event at the Plaza. She had just been called “our lady of the sleeves.” She was on the receiving line and I thought, “This is my hero!” What do you call her? Mrs. Herrera, but she corrects me and says, “Carolina, please.” Today people think everybody can be called by their first name, but that’s not true! Any naughty photos of you on the Internet? With my new physique, I wouldn’t mind that! No flour, no processed Ivanka Trump sugar, and no butter…

What were your first impressions of the lady of the hour? She kind of looked untouchable, but then I found out how touchable she really was. She is the coolest person. Do you call her Mrs. Herrera? No! Carolina! Marigay McKee Most people just go with “Mrs. Herrera.” I’m not that young.

With Donna Karan

With Dennis Basso

ETIQUETTE LESSON! With Bibhu Mohapatra

How do you know Mrs. H? When I was at FIT, she Alina Cho was like a light when I was trying to find my way and direction. I’ve met her socially, but today I had the longest conversation that I’ve ever had with her. I told her what “Carolina Herrera” means to the world and how she inspires millions and millions of dreamers. I’m so happy she’s getting this honor.

Glenda Bailey

“She’s such a visionary and icon. People keep asking me if I’m wearing a Carolina Herrera skirt today, but it’s CH. This is a great event—we raised so much money this year, more than any other year. It goes to FIT, keeps the museum open, goes to scholarships, all great stuff.”—Julie Macklowe

Renée Zellweger

Reinaldo Herrera and Graydon Carter

your daily dose CAROLINA HERRERA on her Daily cover

“It’s beautiful. I love it!”

It was top types, and only top types, at Lincoln Center on Wednesday afternoon to toast and regale Carolina Herrera, who was presented with the FIT Couture Council’s illustrious Artistry of Ralph Lauren Fashion Award. On the menu: light cuisine with a side of Renée Zellweger, ODLR, Ralph, Donna, and oodles of assorted luminaries.

PLAYING FAVES!

Lucy Liu

“On our wedding day, my wife [Alexi Ashe] wore a Mrs. Herrera dress and after her fitting she was happier than I had ever seen her, which was a little jarring for me because…I had recently proposed to her! It turns out getting married to me is less exciting than having Mrs. Herrera do your dress.” —emcee Seth Meyers

HERRERA HEAVEN! NEWFOUND FAME! With curiosité du moment DiMondo How did your famous Times feature happen? Alexandra Jacobs saw me at the CFDA Awards and was impressed with how people were coming up to me and wanted their picture taken. Was it all a dream come true? I never thought about it; it just happened. When I saw it, I was screaming and jumping. The Daily was quoted in the piece. You owe it all to us! Yes, I do!

Overheard… “If the floor fell through in this room, New York fashion would pretty much be done.”

Elizabeth Musmanno Lynn Wyatt

Amy Fine Collins

Robbie Myers

Jay Fielden Anna Wintour Joanna Coles

Susan Magrino

Oscar de la Renta

Marc Puig and Caroline Brown

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

Photos: steven Klein, Craig MCDean, Marilyn Minter, DaviD slijPer, eMMa suMMerton, Max vaDuKul, tiM WalKer

ICONIC ARRESTING

AWARD WINNING

2014 ASME for Feature Photography, Six 2014 SPD Medals, 2013 Ad Age A-List and now... 2014 Fashion Media Awards Magazine of the Year! Congratulations to Stefano Tonchi and team for once again proving that quality and innovation are always in fashion!

WHAT’S THAT SMELL?

nnifer Fi Chow to toast Je

Fix

With Christian Siriano Which odors repel you? Old broccoli from Chinese food really bugs me! How would you describe your smell? Aveda, because I use their hair spray and then Sebastian Shaper hair spray on top of that. I always smell like a chemical, which is fine! How was Labor Day? We did almost 15 fittings!

z Buz MNER MICKEY SU ped by Mr. op dr e Sh ! ALERT sher.

Marisa Tomei

Eugenia Gonzalez and Michael Bastian

Mary Alice Stephenson with Lisa Salzer

CHRISTIAN SIRIANO BASH LULU FROST

Coco Rocha

SHEDDING A TEAR! With Mena Suvari

Are you in town just for Fashion Week? I’m just here for this and Christian’s show. I go back on Sunday with a tear in my eye. How long have you been in L.A. now? Like 20 years. I love it, but I’m so inspired here. Do you remember your first fashion show? It might have been Christian’s. Last year I went to Versace, and that took it to a new level. Have you ever modeled? I did! I walked for Heatherette in 2006. I wore gold metallic bike shorts, and it was interesting, because I’m only 5-foot-4. But I was working it!

SCENE

☛ Flaca alert! Yes, there were plenty of superstars in the house, but the crowd at Christian Siriano’s fragrance launch was most abuzz over the appearance of Orange Is the New Black star Jackie Cruz. Coco Rocha hosted, the Misshapes did their thing, and the air-conditioning went on hiatus, all in the name of the deliciously scented Silhouette. ☛ Lulu Frost and its newish brother line, George Frost, had a killer presentation at Lightbox Studios. ☛ Meanwhile in Tribeca, Jennifer Fisher toasted the opening of her new store at Mr. Chow with gallons of Veuve, highconcept treats from Flour Shop, and indeterminate amounts of bling.

OITNB ALERT! With Jackie Cruz

Love the show. Do you wear orange off set? I do! I have orange Nike sneakers. Do you get asked that question all the time? I do. I also wear a lot of orange lipstick.

BLING RING!

With Hilary Rhoda What’s your jewelry style? I prefer jewelry that’s more understated. What’s the priciest piece of jewelry you own? My engagement ring. Are you ever scared of losing it? Oh, yeah, I’m terrified—but thankfully, that hasn’t happened yet! FA S H I O N W E E K D A I L Y. C O M

STAR SIGNS! With Lulu Frost’s Lisa Salzer

Your boyfriend Marlon (see below!) is very cute! He’s the most beautiful man. You’ve been in biz for a decade! I know the percentages of making it past two years or even five get slimmer and slimmer, so I feel very grateful. What did you do for fun this summer? My family has a house in Sag Harbor! Any plans for fall? Trunk shows and bingeing on House of Cards. And my birthday is November 3! Are you a typical Scorpio? I think so, though I don’t think I’m jealous. But maybe I’ve deluded myself!

COUPLE CHATTER! With Marlon Taylor-Wiles

What’s it like to be Lisa’s boyfriend? She’s the most beautiful woman in the world! I don’t have any complaints. You two are now working together on George Frost. What were you doing before? I was a contemporary ballet dancer with Armitage Gone! Dance. Where did you first meet? At a party, two years ago. I saw her from across the room and wanted to know more, and then I spent 15 minutes looking for her. My friends wanted to leave, but as I was walking out, I finally saw her and said, “You’re my girl! I need your number!” It took months for us to get together.

TAKING THE CAKE!

SCIENCE FAIR!

With Jennifer Fisher

With Joan Smalls

What’s your favorite thing that sparkles? My engagement ring! And my kids’ eyes, as corny as that sounds. What’s the strangest magazine that you read? Sports Illustrated. Do you have a library card? I do! I go with my daughter and we check out books on how to make animals out of food. I swear!

What are you reading these days? I’m very curious, so I tend to read different articles on human anatomy. What’s the last science article you read? I was reading up on body language! So I now know what it means when people talk with their hands, how they approach people, and what they do when they sit down. Last book you read? The Art of Seduction. It taught me so much about myself!

Jennifer Fisher

Alexa Chung

JENNIFER FISHER PARTY Prabal Gurung, Michelle Ochs, and Carly Cushnie

b fa n yc . c o m

Party

the

Fix

Jenne Lombardo and Laure Heriard Dubreuil

front row

Martha Hunt

Olivia Chantecaille

Joseph Altuzarra

SCENE

Katie Hillier, Dirk Standen and Luella Bartley

Soo Joo Princess Deena Al-Juhani Abdulaziz

Brandusa Niro Guillaume Bruneau Creative Director Christopher Tennant Executive Editor

PARK HYATT OPENING

☛ Let’s hope you were beautifully dressed, because Wednesday was a seeand-be-photographed-at-15-differentparties kind of situation. First up: a celebration of “the new Style.com” at the Garden of Elyx on Elizabeth Street. Dirk Standen, Johan Lindeberg, and Absolut Elyx hosted the affair, which drew models, designers, and Olivier Zahm. Also: a performance by Jamie Bochert. ☛ The opening of the new Kelly Rohrbach Park Hyatt was a decidedly more uptown affair, with Hyatt Hotels’ Mark Hoplamazian presiding over a crowd of Thomas Pritzker, Ed Menicheschi, Klaus Biesenbach…you get the idea. ☛ Naeem Kahn and bestie Linda Fargo took in Queen of the Night at the Diamond Horseshoe. ☛ And finally, Dannijo and Samsung Galaxy did din at the Musket Room. Jewelry! Dree Hemingway and Phil Winser Technology! Models!

STYLE.COM BASH

Phillip Lim, Johan Lindeberg, Sabine Heller, and Tenzin Wild

Editor in Chief, CEO

Stephanie March

Bronson Van Wyck and Beth Kormanik

Klaus Biesenbach and Agnes Gund

Eddie Roche Deputy Editor

Managing Editor Tangie Silva Features Editor Alexandra Ilyashov Fashion News Editor Paige Reddinger Contributing Editors Ashley Baker, Sarah Horne Grose Writer/Reporter Dena Silver Art Director Teresa Platt Contributing Photographer Giorgio Niro Contributing Photo Editor Jessica Athanasiou-Piork Contributing Copy Editor Joseph Manghise Imaging Director George Maier Contributing Imaging Assistant Mihai Simion

President, Publisher Paul Turcotte Account Director Chloe Worden Events & Corporate Partnerships Director Jessica Fafara Marketing Manager Kelly Carr Publishing Coordinator Piero Bellizzi Digital Director Daniel Chivu Manufacturing Operations Michael Esposito Amy Taylor

To advertise, call (212) 467-5785 Or e-mail: turcotte@dailyfrontrow.com

Mia Moretti and Natalia Kills

Pamela Love and Olivier Zahm

Judith Light

Thomas Pritzker and Mark Hoplamazian

Lazaro Hernandez and Jack McCollough

getty images the official photo agency of The daily front row

DAILY FRONT ROW, INC. The Daily Front Row is a Daily Front Row Inc. publication. Copyright 2014. All rights reserved. Reproduction without permission is strictly prohibited. Requests for reprints must be submitted in writing to: The Daily, Attn: Tangie Silva, 135 West 50th Street, 4th Floor, New York, NY 10020.

DANNIJO DINNER Aimee Song

Jodie Snyder Morel, Jennifer Vitagliano, Danielle Snyder Dani Stahl Langley Fox Hemingway Sophie Auster

On the cover: Stefano Tonchi and Rihanna, photographed by Mert Alas and Marcus Piggott.

Theodora Richards bfanyc.com (19); patrickmcmullan.com (8) FA S H I O N W E E K D A I L Y. C O M

Kate uptoN Fa LL 2014

congratulations

k ate UPtON Model of the Year social Media

@ExpressRunway congratulates @KateUpton

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9/3/14 1:52 PM

THINGS TO DISCUSS!

1 .The New York Times’ revelation that over the past five years, WWD lost $50 million. #ouch 2. The fact that Jay Penske wouldn’t give an interview to The New York Times…but Patrick McCarthy would! 3. Customized Rag & Bone bowling shirts, now on sale at Mercer and Christopher Street boutiques. Um, yes! 4. Yahoo Style. J’adore! 5. Is the Lowline the new Highline? DVF is already working on fund-raising…

NAOMI ALERT! Was there ever any doubt about the FMA winner for Television Personality of the Year? The one and only Naomi Campbell is riotously deserving of the honor for her buzzy turn on Oxygen’s The Face, and her longtime friend, W fashion director Edward Enninful, is presenting her award.

Bu zz Retouched By an Angel!

The World According to VF’s Michael Carl 5 ways to make it through Fashion Week

What if…Tim Blanks and Antoine Arnault switched ’dos?

Fix

HEARD

☛ So many gems from Bill Cunningham’s interview with Fern Mallis at the 92Y! A few standouts: “Every single inch of [the Isabella Stewart Gardner Museum] is an inspiration. Every single inch is beauty. To this very day, when I’m feeling low, I get on the train and go up there to spend the day.” ☛ “I was working for Bonwit Teller, who opened a store in Boston, and they decided, ‘We’re gonna educate him!’ They enrolled me in classes [at Harvard], but after a couple months I said, ‘Oh, come on. You have the wrong guy—I don’t belong in this place!’ ” ☛ “Everything is too easy—too much money now—and that’s not healthy.” ☛ “I must have 100 boxes with all the photos by season in Paris and New York. It’s the only nightmare I have right now: what to do with the damn stuff. I have a fireplace and I thought, ‘Well, there’s a way to keep warm!’ ” ☛ “Listen, there was a young fellow that came out before we started and asked, ‘What would your legacy be?’ Legacy? Is he crazy? Who thinks about legacy? I’m a worker in the factory. I’m only concerned with what we are doing today.” ☛ Moving on. Congrats are in order! Billy Daley has been named SVP of global communications at Marc Jacobs. Just don’t harass him for a better seat at the show during his first week on the job, mmkay?

1. Eat something. I know you think the girl sitting next to you has skinny arms, but she also looks like she is about to pass out. I know you also may think this is chic-looking, it’s really not. It’s always good to have a boy with you, because we get cranky without lunch. 2. I know it’s hard, God knows, but try your very best not to freak out about where you are seated. I know this is easier said than done, but it would make Fashion Week so much easier. I promise! 3. Get to the show on time. The perpetually late, frazzled editor is not a good look. 4. Show up 15 minutes early to Marc Jacobs. Haven’t you learned your lesson yet? Missing Marc can ruin your week, and guess what—everyone is doing roll call at this show. 5. Get over yourself and take the subway (myself included).

Miami Moment! Ugo Colombo, Principal at CMC Group, tells us about Brickell Flatiron, Miami’s hautest luxury condo building. So, what’s your story? I’ve been designing high-rises for almost 30 years. I’ve been a pioneer of developing luxury product in the Brickell area. Did you have any important collaborators on the building? I’m good friends with Julian Schnabel, so I thought it would be great to work with him on the common spaces in the building. He picked out the colors, the fabrics, the materials, and the final look of the common spaces, as well as creating some custom furniture pieces. How many units are still on the market? There are about 550 units and a fourth of those are already reserved! What is its most luxurious feature? I’ve dedicated the whole top floor of the building to be the spa, pool, and fitness area. The whole roof is also taller than any other buildings in the area. 1001 South Miami Avenue, Miami

Nailing It

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Mara Hoffman Fall 2014

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

campbell : P H O T O G R A P H Y B Y I N E Z A N D V I N O O D H ; bfanyc . com ( 7 ) ; getty images ; patric k mcmullan . com ; all others courtesy

Thank you for sharing your unique talent, inspiring success and genuine warmth. You are a true role model for women everywhere.

Don’t miss the premiere of Diane’s original new show on E!, a series about what it takes to be a DVF Girl. Coming this November.

CHIC Critique

CRITIC’S CHOICE

After clocking nearly a dozen years as the Financial Times’ go-to fashion gal, Vanessa Friedman arrived at The New York Times to tackle the big, bad title of chief fashion critic—and also serve as the paper’s fashion director. Just don’t call her the new Cathy Horyn! BY ALEXANDRA ILYASHOV photography by stefania curto

Was a stint at The New York Times always in your grand career plan? It was never in my plan to really have a plan! I grew up in New York, so the Times was always my paper—my romantic idea of what a newspaper was. When this opportunity came along, it was impossible not to grab it. Was it a big transition? It’s interesting to be the new kid again! That’s a huge learning experience. No matter how much you think you know in this industry, your role is really different when you go to a new place. Did your writing voice change for the new gig? No, I don’t think my style has changed, but I take my reader into consideration a bit differently. The Times has a much bigger, broader readership than the Financial Times, so I’m speaking to a much greater variety of people. How would you describe your voice? I try to connect fashion to the rest of the world; to situate it in readers’ lives. That’s important for someone at a general-interest newspaper. I tried to do that at FT, and I try to do it at the Times.

Were Cathy Horyn’s shoes big ones to fill? Well, I’m not trying to fill her shoes; I’m wearing my own. I have enormous respect for Cathy, and I’ve known her personally for years. I was usually seated with the U.K. press, across the runway from Cathy and the American press. Sometimes, we were lucky enough to sit near each other. I admired her for the 12 years I worked at the FT. I wouldn’t ever try to replicate what she did or who she was. I have my own voice and a different take on the world—and that’s okay. Did Cathy contact you when you got this job? Well, she tweeted about it! [Laughs] We had lunch. I really like talking to her. A lot of times, what we talk about isn’t fashion-related. We talk about our families. I’ve seen her in many airport lounges before flying from Paris to New York, when everybody is bleary-eyed and exhausted. Cathy has been feared by some designers and banned by others. Are you playing nicer? I’m not trying to be nice nor mean. I’m trying to be neutral. I get criticized a lot by designers because when I’m at a show, you can’t tell what I’m thinking. I have FA S H I O N W E E K D A I L Y. C O M

CHIC Critique

“

I’m interested in this sort of transmogrification of Fashion Week into a performance art. A critical mass of designers seem to be thinking about things in a more entertainmentlike way than in the past.”

a poker face. I don’t think that’s a bad approach! Your title is chief fashion critic and fashion director. What does a fashion director do at a newspaper? It refers, in part, to the fact that I bridge The New York Times and The International New York Times. It seemed like the simplest way to combine two roles with two different titles into one. Do you like being involved with the International New York Times’ Luxury Conference? I was the editorial coordinator for the FT’s Business of Luxury Summit for 10 years, so it’s very similar. I do it with Deborah Needleman, and we have a great time! Conferences are fun—you get to explore your subject in a different way. After being at a U.K.-based paper, do people assume you’re British before you speak? When I was at FT and I wrote a column about Mark Zuckerberg and his hoodies I got a lot of e-mails saying, ‘’You stupid English person, you know nothing, you don’t understand.” I was already based in New York! Why was fashion important to the FT reader? It’s a $180 billion-dollar industry! These are huge businesses, and the creative and corporate sides are becoming intertwined. That’s a very FT subject. Fashion now has its tentacles in other industries, like technology, hospitality, and film. Do you ever get hate mail when you pen negative reviews? If a subject calls you up and raves crazily about something you’ve written, it might be too much along the lines of what they wanted, and if they get mad, you might not have been fair. If you get no reaction, it’s because you have been fair, critical, and objective enough on both sides. You can’t like everything on the runway. Do you have a checklist of qualities that make a great collection, or is it a gut reaction? It’s not a gut reaction. I think a gut reaction is more about blogging. I look for what a designer is saying—or not saying—and how it relates to what they’ve said before, and how that, in turn, relates to the outside world and makes sense with women’s lives. You’re pals with Sally Singer, yes? We first met when I landed in England in 1996. Friends said, “There’s another American in London in media, you might like her!” She’s been incredibly supportive of my new job. Would you like to work at Vogue with her someday? I would love to work with Sally, but I’m very happy where I am right now. I actually worked at Vogue a long time ago as a contributing editor, in 1994 and 1995, before I went to England. You spent some time at The New Yorker many years ago, too. That’s really where I started writing: I learned about story structure, sentences, word choice, and how to build a story. I’d been at Vanity Fair for a year and a half—that was my first job in magazines. At The New Yorker, I was writing for the “Talk of the Town” section—doing that job, you really learn to do whatever lands on your plate. Would you ever want to switch over to the glossy grind? I really liked newspapers. I never thought I would when I started out, but I really enjoy the opportunity to live in real time. I don’t think I want to give that up! I don’t have a sort of commercial responsibility. I really can say whatever I think in a newspaper as a critic—that role doesn’t really exist in magazines. Another thing I enjoy at newspapers, which you don’t get to do in magazines, is to look at fashion holistically. Not only in terms of designers, but what happens on the corporate side of things and how the business itself works. Do you have friendships with designers or does it get dicey? I’ve known many designers for over a decade, and I’ve followed their work with great interest and enthusiasm. But we don’t eat ice cream together while FA S H I O N W E E K D A I L Y. C O M

watching sappy movies and talking about relationship issues. The word “friend” has become a bit of a hot button topic in our world since Cathy’s piece on L’Wren Scott and her piece in the current Bazaar. It now has a negative taint it doesn’t deserve—there are lots of degrees of friendship, ranging from pleasant acquaintance to tell-all, and it’s important to differentiate between them. Is it easier to do your job thanks to this separation between personal and professional? Maybe. It’s just the way I do my job. When you cover an industry, you appreciate how much work goes into it. I know how hard designers work on their collections, how much they care about them, how many hours go into it, how much emotion is involved. It’s difficult when you have to tell them, “Well, you wasted your time this time around.” When you do write something critical, is it tougher to fall sleep at night? It’s harder when you go to an event soon after a bad review and run into that designer and you’re like, “Oh, sorry.” It happens all the time! After I’ve written something critical, a lot of designers want to talk about it and understand things more. I think that’s completely fair and it’s part of my job, so of course I do it. What excites you about NYFW these days? I’m interested in this sort of transmogrification of Fashion Week into a performance art. A critical mass of designers seem to be thinking about things in a more entertainment-like way than in the past, like Gareth Pugh, Opening Ceremony, and Ralph Lauren. Does the performance aspect detract from the actual clothes? Yes, you don’t see the clothes as much; it’s about the concept. Arguably, the point of a runway show for many designers is actually a concept, not the practical derivations. You certainly don’t see the seams, the fabric, or the way something is put together in a show, but you do see how it moves on the body. It’s harder to deconstruct a garment, but may be easier to deconstruct an idea. Where do you usually do your writing? Ideally, at my desk, with my computer and a glass of water. But in reality, I’m often writing on the subway, by the side of the runway, or on a bench by Lincoln Center. So which young talents are on the radar? Young is a weirdly fungible concept in fashion. Really young designers, like an Alex Wang, will drop out of school, start their own labels, then they stay “young” for many years. So, what does a young designer really mean? In Italy they call designers in their mid-forties young—because they’re not Armani, who’s almost twice their age. It’s funny! A few names, please. Thomas Tait is a really talented, interesting guy. Christopher Kane is young, still, but he feels very established now. Joseph Altuzarra is incredibly young—he has no stores, and has a staff of 12 or so people, but he’s won CFDA’s Womenswear Designer of the Year award. It really depends how you measure success: It’s possible to get huge buzz and respect in the fashion world, and still be a small company. If you were an up-and-coming designer, where would you show? I’d never want to be showing—it’s so awful! It’s so hard for young designers to fight their way through. A lot of established brands occupy most of the space in these Fashion Weeks. There was a time when New York and London’s schedules were less crowded; there was space for young designers. I’d show online, I guess! Where can we find you off-duty? I live in Park Slope, so I’m often around the area. I do trapeze with my kids on the West Side Highway or in Williamsburg. How did you start swinging? I started when my middle child was in kindergarten—a mother in her class thought it’d be a great way for a group of kids to learn not to be afraid of heights. My eldest daughter and I thought it was fun. You either like it or you don’t! p a t r ick m c m ullan . c o m

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CHIC Refresh

style phile

Following a decade of stellar styling stints, including a longstanding run at Prada, Melissa Rubini hopped back onto the masthead as style director for InStyle. A year and a half into the new gig, Rubini is ratcheting up the mass glossyâ&#x20AC;&#x2122;s fashion cachet, one burgeoning talent at a time. 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

CHIC Refresh

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What brought you to InStyle after 10 years of freelancing? What’s it like styling all of the mag’s celeb covers? I felt ready for a change, but this job was completely unexpected! I We have a huge selection of looks, I explain the story, and My work met with Ariel [Foxman], who’s so smart and on top of everything. we try things on. I always prep for shoots—I look at all the I always need an exciting environment, and to have such a trusted magazines they’ve been in before, I watch their movies, read has a sophistibrand behind me and reach so many women felt like the perfect their interviews, try to find out who they are. It’s a lot of cated, modern, combination. research! To take someone to a new place, I have to respect and contempoWas it a big transition to go from a decade of freelancing to what they’ve done, and add a fresh layer. being on staff? How are you celebrating InStyle’s 20 th birthday? rary feel; I’m Before I had many clients; now, I have one. It’s easier in some Roberts is on the cover. I absolutely love her. I don’t really always pushing Julia ways—I can study and really know everything about the InStyle get star-struck, but when she entered the room and smiled forward. Ariel brand. When I freelanced, the turnaround is so quick. You’re in and that Julia Roberts smile, I was like, “Oh my God, she exists out. You don’t really see a brand progress. was looking for and she’s here…and she’s absolutely lovely.” We also had our Why did this feel like the right move? and Fashion Rocks issues to put out at the same someone to bring Makeover I needed to be sure I’d have the freedom to be able to do what I time. As if one September issue wouldn’t have been enough! InStyle to the needed to do. Ariel’s really been amazing; he trusts me with such How did you feel when Eric Wilson hopped from The a huge platform. I do every single cover and at least two features New York Times to InStyle? next stage. per issue, and I oversee the entire It was fantastic to have him join—it magazine’s styling. added another piece to the puzzle. It What’s your styling approach? feels like a more rounded, complete My work has a sophisticated, team with Eric here. What’s not to modern, and contemporary feel; love about him? I’m always pushing forward. Ariel What’s Ariel like as a boss? was looking for someone to bring He’s scarily smart. He knows the InStyle to the next stage. At such reader so well. And he’s really a huge magazine, it’s not about collaborative. Ariel’s very funny; that switching things overnight. We side of him doesn’t always show. have to take our reader by the hand We’ve become great friends. and show her everything new and Way before joining InStyle, how exciting, without scaring her. She did you get into styling in the first place? has to trust us. Totally randomly. I moved to New York Was your styling edgier during from Brazil to study photography; your freelance days? it’s always been my passion. But I I was at Prada for 10 years, which started assisting different stylists is, of course, a very forward brand. out of the blue to support myself, and I also did Guess campaigns and I just loved it. Joe McKenna was the worked with Numéro, among other first stylist I assisted. Then I worked projects; I worked across the board. for Victoria Bartlett. Next, I assisted What do you like about your onAnne Christensen at the The New York staff current role? Times. It was my first job, really. Coming to InStyle was about How’d that go? what I look for as a woman in the I was 20, working at The New York world. I have a daughter; what Times, and not really speaking do I wear to PTA meetings? You English—it was really intimidating. can get out of reality very quickly Sometimes when you know too much, if you think only like a stylist or it paralyzes you, but if you don’t fashion person. There are amazing even know how scary it is, you just clothes to photograph which do it. That’s how I operate; a sort of become amazing images, and professional blissful ignorance. that’s great, but it’s about finding What happened next? balance between what’s exciting Collaborating with Prada was fashion-wise and what our reader another jump. I was very young; I can actually see herself wearing. worked with Steven Meisel. I learned My approach at InStyle is that of a so much from him that I couldn’t have learned anywhere else. He’s brilliant. woman’s best friend. The way Prada shoots campaigns is a very different, collaborative style than Has the talent pool at the glossy changed lately? most photo shoots. There are a lot of fresh, innovative collaborators. Throughout my career I’ve What’s your personal style philosophy? tried to champion new talent. InStyle is allowing a new generation of stylists, Modern, minimalist, very easygoing. I move at a very fast pace, so I have to designers, and photographers to come in, balanced with established names feel comfortable! I have a uniform: tailoring, a mix of feminine and masculine, and the magazine’s iconic strength. heels sometimes. I barely use makeup. Names, please! Greg Kadel started shooting with us—I love his work, and he’s very respected Do you hang with a lot of Brazilian fashionettes? When I see Brazilian models, we instantly speak in Portuguese and give in the industry. We’re featuring designers like Marco de Vincenzo—in the each other 10 kisses. But in general, I’m a very private person—I like to go past he might not have had much space in the magazine. We featured a to events and be there for designers, but I don’t always have to be out here, Christopher Kane look on one cover; I feel that wouldn’t have happened in having “the fashion life.” Since I had my daughter, the past eight years have the past. been about juggling traveling, my daughter, and work. That’s already a lot. Celebs have always reigned supreme in InStyle’s pages. Was that new Is your daughter into fashion? turf for you? We don’t use any models whatsoever. Of course, celebrities are very different She is, and it’s kind of scary. She loves to try on high heels. I’ve done a lot of respected work in the fashion world, but when I started at InStyle and we than working with models. Before InStyle, I hadn’t done celebrity styling, did a Taylor Swift cover it was the very first time my daughter said, “Mama, so it’s been a shift. Celebrities can be thought of as up on a pedestal, or you’re famous, I know what you’re doing now!” Taylor was so sweet; she gave as extremely talented, accomplished women of different ages and sizes. us backstage tickets, and I became the coolest mom ever. Compare that with a magazine full of 15-year-old models. FA S H I O N W E E K D A I L Y. C O M

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CHIC Gent

PERFECT

TEN Can you believe itâ&#x20AC;&#x2122;s been a decade since Esquire fashion director Nick Sullivan crossed the pond? The Daily raised a glass with the natty British import as he looked back fondly on his time in the menswear trenches. BY EDDIE ROCHE PHOTOGRAPHY BY GIORGIO NIRO

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

CHIC Gent Congrats, Nick! It really doesn’t feel like a decade, but I don’t think anything in New York ever feels like a decade. It’s the pace of life here. But menswear in America has gone through such a revolution since I started here. It kicked off just before the recession, when blogs grew and Americana grew and somehow regular guys got more into fashion. Everyone’s raised the bar a touch. A lot of people credit it to Mad Men, but I think it was happening before that. Those natty metrosexuals, was it? That was a precursor, sure, but it was mostly an urban thing limited to New York, L.A., and maybe Chicago. Those guys were already interested in fashion. Now, it’s beyond the guys who don’t live and breathe style. They have other things in their lives, too. An Italian once said to me, “What I don’t understand about American men is that they love cars, girls, travel, and luxury, but they don’t love clothes. An Italian man would be missing a major part of his DNA if he wasn’t into clothes!” A little bit of that spirit seems to have emigrated. Who’s to blame for all those years of squaretoed loafers? I think the grunge thing turned men off of the idea of going above and beyond in a lot of ways. Now, it’s completely flipped. Men are realizing the benefits of making an effort, whatever that means. It might mean merely wearing clean clothes, or wearing old clothes really well, or working the high-low thing. There are so many ways to dress now. It’s almost impossible to make rules, except maybe with black tie. Were you always a rule-breaker? A bit, yes. I wore uniforms from age 4 to 18, which encourages rebellion. At 18, it was a two- or three-piece suit in gray or charcoal, but I always bought vintage ones and tinkered with them. Punk was just coming up, so you’d have kids turning up with blue hair and piercings and things. It never said anything in the school rule book about dying your hair blue, although that quickly became a rule. Did you ever go blue? I didn’t, no. I just dabbled in mod and punk. I was a skinhead for six weeks, which is how long it took my hair to grow out. Style was much more connected to music back then, much more than it is now. It was an interesting time in the U.K. for fashion, certainly. I’ve still got a few old copies of The Face around and what guys would wear then, no one would go around in now. People looked insane. There was a real street style explosion in those days, but things are much more gentle and classic and normal now. Mostly that’s a good thing. How did you land in the magazine world? I fell into it, to be honest. I applied for a writing job out of desperation. It was at International Textile, an old trade magazine for the manufacturing industry to show what trends were coming out of mills in Italy. I did the job for a few months before I realized I was actually interested in it. I was sent to trade shows and gradually did more writing about men’s. What was your first big gig? After International Textile I moved over to British Esquire as fashion director. I was there for a few years and then moved to Arena and Arena Homme+, which was an amazing education in fashion because it was much more street and edgy. That was good for me, because it wasn’t my natural inclination at the time. I went on to British GQ, and then American Esquire called. Was it a tough decision to move to America? It was a big one, definitely. My daughter was only 3 and my son hadn’t been born yet, so there was never going to be a worse time. But we thought it would be an adventure, so we went for it. It was fantastic, and has been ever since. Do you remember your first week on the job? I was getting to know the ropes, but at least there wasn’t a language barrier. Ten years ago, magazines were so different. They were much more basic, and the

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Internet hadn’t yet revolutionized what we do and how we think about reaching our audience. All that’s changed. I had to learn a whole new market, essentially. I had to learn the way retailers work, the way they stock and buy clothes at the kind of stores that are influential. Guys also dress differently here. When I first moved to New York, I noticed how guys who clearly spent a lot of money on a suit were wearing them two sizes too big. I couldn’t understand that. The fit thing was a revelation. Now, the stores and the American brands are doing a much better fit and that knowledge has spread. What’s the most challenging shoot you’ve worked on at Esquire? The one we’ve just done! For our September issue, we drove from New York to L.A. in three SUVs and stopped every 300 miles to dress a different guy. We really didn’t think it would come together because of the logistics involved, but it did, and it was fantastic. We did it to show that you don’t have to live on the Upper East Side to wear a Ralph Lauren suit; you don’t have to be a movie producer to wear a good pair of jeans. We wanted to show the diversity of real men and style working its way across America. I don’t know how we’re going to top it, actually. Maybe we’ll go to the moon? Who’s been your right hand? [Senior fashion editor] Wendell Brown has been there since I started. We’re very different and how we approach and wear clothes is different, but we largely like the same kind of clothes, which is really helpful. He’s been tremendous. Esquire’s Big Black Book is sort of your baby, yes? In part. It was something that David Granger wanted to do, and I was lucky enough to be in the right place at the right time to articulate it. It’s really evolved quite a bit over the years. We never just sit and say, “Wow, that was great, now we can relax!” We always say, “Damn it, now we’ve got to do something better and bigger and weirder!” The Black Book explains runway fashion to older men and classic clothes to younger men. You’ve been attending shows for well over a decade now. Do you still get excited? I do, though even I’m surprised I still do. But the shows are like the spark plugs on an engine. They’re the beginning of everything, and without them the machinery doesn’t run. We need the renewal of ideas and inspiration they provide. In a way, fashion shows are a kind of archaic way of presenting clothes, but they’re probably less relevant to men than they are to women. With women, it’s much more about impact. I find walking around Pitti as informative as sitting at a runway show. I wouldn’t want to do without either of those rituals. Same thing with presentations. What do you like most about working in men’s? I’m always really struck by how open everybody is in the menswear world. I thought it would be different. One of the reasons I like menswear is that at the end of the day, it’s just trousers. You don’t have the high pressure you get with womenswear, and I’m glad about that. I’m not saying there isn’t pressure, but there’s less. Maybe that’s part of why I always wanted to stay in menswear. Do you ever think about where you’ll be in 10 years? No, not at all. The way I work here is the way I’ve always worked. I’m just focused on this season and what we’re going to do next. What about where fashion will be? Given how much it’s changed in the past 10 years, we’re not wearing space suits quite yet. We’ve reached a sweet spot where guys can wear what they want. The suit is dead, but not completely dead. People still want to dress up. You can wear separates with suits and it’s fine. You can be casual. It’s not so much about how clothes will look, but about how men feel about wearing them. I’ve gotten to see a real progression.

One of the reasons that I like menswear is that at the end of the day, it’s just trousers.

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

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CHIC Trophy

Clio Queen The Clio Image Awards debuted in May as the chic, much younger sister to the Clios proper, aka, the Oscars of the advertising and marketing realms. The sold-out event was masterminded by Nicole Purcell, executive vice president of the Clio Awards. Andy Cohen was on host duty, SJP nabbed a statuette, and brands both major and soon-to-bemajor got deserved recognition. Purcell dished on the advent of the Clio Image Awards—and what to expect at round deux. BY ALEXANDRA ILYASHOV How did the Clio Image Awards come about? I took over running the Clio brand five years ago. My first year, we realized that there was no place to honor [achievements in] window design, fashion films, ad campaigns, and runway shows. How did the first-ever Clio Image Awards go in May? We announced the judging panel and opened entries a year prior, in October 2013. We broke it up by medium, with different judges for film, digital, and partnerships and integrated media, including experts like David Hoey from Bergdorf Goodman, who does their amazing window displays, Richard Ferretti from Estée Lauder, and photographer Annie Leibovitz. We had around 30 judges; they were all wonderful! We got nearly 500 entries for the first-ever Clio Image Awards. For the main Clio Awards, we got over 12,000 entries! That’s a lot of entries to parse through! Why were SJP and Andy Cohen at the Clio Image Awards? Andy Cohen hosted, and he was amazing. The fashion industry loves him. Sarah Jessica Parker got an honorary award, for everything she’s done: She’s become a style icon, she produces, she designs, she does it all. We picked someone whose creativity inspires others in the industry. The two of them are such great pals, too. They had amazing chemistry at the awards. They talked up a storm and seemed to be having a great time. We actually didn’t even think about that when putting the event together. When Andy gave her the award, I could tell it really meant something to him. During the event, she was so into it; she really loved seeing who’d won. Why do the event in May? We schedule the Clio Image Awards two days after the Met Gala, since we know fashion people are in town then. Andy and Sarah Jessica were each others’ dates at the Met Gala, coincidentally. What brought Inez and Vinoodh to the awards? We honored them through our sister brand, Pret-a-Reporter, which is part of The Hollywood Reporter brand [also owned by the Clio Awards’ parent company, Prometheus Global Media]. Who were some standout winners? Our film Grand Clio—which is our “best in show” award—went to FA S H I O N W E E K D A I L Y. C O M

fashion brand, Wren, for their viral video, First Kiss. Everyone was just blown away by the film; it was a huge standout, for a brand that not everyone had known before. It’s not just about a picture of a model in a pretty dress with a bag thrown over her shoulder anymore. Ralph Lauren won a design Grand Clio for their Tokyo store opening, and a partnerships and sponsorships Grand Clio for their amazing “Dog Walk” campaign. What can we expect at the second-annual awards in May 2015? We’ve been planning for next year’s since the day after this year’s awards! Right now, we’re choosing our jury members. In October, we’ll reveal our jurors and open up to receive entries. We’ll be updating the categories, too. On-site judging will happen in April. Currently, we’re looking at bigger venues—we sold out all our tables last year. What’s the story behind the Clio statuette? It’s been around since the 1960s. They recreated one from 1965, when the Clios were called the American Television and Radio Commercials Festival, which Don Draper won on an episode of Mad Men. Are you often asked who Clio is? No one’s asked me if it’s a person, but I’m often asked what Clio stands for! It’s a Greek goddess known for doing good deeds. What’s your trick to running an event smoothly…and not losing your mind in the process? No. 1, plan it early enough! I like getting on the ball very early. Secondly, hire good people. And do not freak out—no matter what happens, you can always make something work. If you weren’t the Clio maven, what would you be doing? I’d own a vineyard in Napa. With all my marketing and events experience, forget about it—everyone would come to my vineyard! G E T T Y I M A G E S ; a l l o the r s c o u r tesy

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CHIC Revamp

Self

Improvement Condé Nast’s latest first-time EIC, Joyce Chang, has spent nearly six months perched in the corner office of fit-chick glossy SELF. After putting the masthead on a rigorous slim-down regimen and then building her own team, Chang is using what she learned at Camp Joanna Coles to run a mag. Plus, she’s always got her first glossy boss, Linda Wells, a few floors away. BY ALEXANDRA ILYASHOV PHOTOGRAPHY BY STEWART SHINING

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

Why did you take this gig? I felt ready. I felt like my game was coming together, I was firing on all cylinders, and I was ready to do my own thing. I’d been at Cosmo a year and a half, and before that, at Marie Claire—life with Joanna [Coles] is like leap years! So much happens in such a short span of time. Working with her is a whirlwind education. Being a No. 2 to Joanna is actually like being a No. 1.5. It’s like an accelerated career program; a magazine MBA of sorts. Were fitness glossies always on your radar? I wouldn’t have thought of it, but it makes perfect sense. I’ve always been really interested in health and well-being, but I’m not strictly a health junkie, by any means. I’m the first person to become obsessed with anything new and experimental; I love trying new classes. Chia seeds? Sure, I’ll eat them every day and see what happens. Who’s the SELF reader today? Anyone who comes to SELF is inherently motivated. That’s a wonderful quality for a reader! She doesn’t come here for a passive experience: She sees something and she does it. She’s very active and lives a full, happy, exciting life. She wants to do well at the gym, kill it in her career, and have a really satisfying personal life. I want SELF to be a place where all of that feels connected rather than siloed; it’s sort of a guide to being more motivated. How old is she? This mind-set is more psyche-graphic than demographic. But she is at a point of her life where she’s making conscious choices. When you’re quite young, you’re very reactive. It feels like things all happen to you and around you. The SELF reader’s world spins madly on, but she makes all the choices about how she wants to live her life, what she wants to do with her time, what she wants to put in her body. Are you editing for the same sort of reader at SELF as you were at Cosmo? It’s sort of an evolution. At Cosmo, our reader was trying hard to make sense of a chaotic world. The SELF reader has already made sense of it. She’s just figuring out how to accomplish all the things she wants within the course of her day. Did Joanna give you any advice for the new gig? We still talk all the time! She’s a great friend and adviser. She’s given me tons of advice throughout our time together, but what really stuck to me was when she said, “This is a special time, running your first magazine—time that you’ll never get back. There will always be challenges, but never forget to enjoy it!” Was it daunting to succeed Lucy Danziger? Everything has a cycle, a time, and a place. When I got this job, I sent a note to Lucy saying, “I have all the respect in the world for the brand you’ve built, and I have very big shoes to fill, so I’ll do my best.” She sent me the nicest note back that said, “Can’t wait to see what you do.” What’s your vision for the magazine? This genre of magazines can feel very much in a white space, but I wanted it to reflect the world that we live in. When I go to a workout class in Tribeca, everyone looks amazing. The clothes are amazing, everyone’s done something cool with their hair, they’re wearing a little berry stain on their lips, they’re accessorized, they’re drinking juice. What they’re doing before and after the class; how these women socialize…I wanted that energy in the magazine. Sounds pretty fashion-centric. There are plenty of fashion magazines and lots of fitness magazines, but nothing that’s bringing that feeling of motivation in one place. My mother has always said, “A successful person is a successful person in all aspects of her life.” There wasn’t a magazine with the information to help me do all that. There’s so much stuff right now about what women want; what they should have. It’s about leaning in, thriving, all that stuff. I wanted to make sense of that energy and ambition in SELF. There has to be a balance to it—it can’t just be all about pushing yourself. So it’s okay to veg out sometimes? To be able to do all those things, you have to take care of yourself. That’s a message that women need to hear now more than ever! In order to accomplish all that she wants to accomplish, she needs to give herself a break sometimes. We live in a culture where everybody needs to be reminded to relax. Has your workout routine changed since getting to SELF? Something I found very surprising when I started this job was how physical it was! I didn’t realize you could be so tired at the end of the day. I’d always been super into dance cardio, but I found I physically couldn’t do it. What I really needed was yoga, which I’d always thought of as too slow and boring. It clears my head, and I always have the best ideas afterward. FA S H I O N W E E K D A I L Y. C O M

What kinds of sweat seshes are you trying out now? I’m giving running a second chance. I was never a runner, but when I bought a place on the Upper East Side, I felt like I wasn’t getting my money’s worth on the apartment unless I really maximized being near Central Park. So I’m getting a running coach! I don’t have good running form; I don’t know the basics. I’ve always been an indoor exerciser, but when my A/C broke this summer, my yoga instructor said, “Let’s just go to the park.” I was sort of unwilling, but we went and it was fantastic. Being outside is priceless; we should all be outside more. Are you trying to take SELF more mass or more niche? Our reader is focused on winning in life—that’s a line on our September cover. We’re focused on the woman making things happen for herself—at the gym, in her career, for her personal life. Whether that’s mass or niche, it’s a very wellrounded woman. I hope that becomes more mass. Why did you decide to earn a journalism degree from Columbia? I was figuring out my life; I’d just graduated from college and I knew I wanted to be in New York. I thought I wanted to be in this world, but I didn’t know. To get experience and figure things out, the reasons to go are just as valid now as then. On the other hand, the economy and the industry have changed. It’s a very expensive way to figure things out! What was it like assisting Linda Wells as your first glossy gig? I love Linda! Being an editor-in-chief’s assistant gives a great top-down view. What sorts of top editrix advice does she give you? Some people like to live the [editor-in-chief] role a certain way, but Linda has said, “I keep my head down and do my work, and I think that’s the best way to be successful.” She’s 100 percent right; she’s had amazing staying power. We’ve also talked about when you should go to a photo shoot and when you shouldn’t—how it can change the dynamic. I sent her an e-mail the other day asking, “Do you have a shopper? I don’t have time to shop anymore!” Are you much more plugged in to the business end of things as EIC? Of course! When you’re running a brand, you’re running a business. I love it. Editor-in-chiefs are CEOs now, in a way. I had a good introduction to that at Cosmo, which is such a huge business. Was EIC always your dream gig? Well, when I was 12, my friend and I “published” two magazines. We did The New Yorker for Kids, with color comics instead of cartoons, and a tabloid called As The World Turns, about aliens abducting Grandma, that sort of thing. We’d have sleepovers every weekend, and go to my friend’s dad’s law office to print and Xerox them. We did a perfect-bound edition, with tape—though I didn’t know what perfect bound was back then—and also did a stapled version. I kind of think I was a visionary! [Laughs] When I look back, it makes a lot of sense. How did your fam and pals respond to the news of your EIC role? A lot of my childhood friends said, “I knew this was going to happen.” I didn’t! My parents were very pleased. They’re Asian-American immigrants; they see things in a certain way. They sort of did not understand what I did. I wasn’t a doctor or a lawyer; I wasn’t getting an MBA. They were like, “What’s this artistic thing?” Now they’re kind of getting it.

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Carine Roitfeld Fashion Creative of the year, CR Fashion Book and Harper’s Bazaar

Katie Grand International Fashion Magazine of the year, LOVE

Kate Upton Stefano Tonchi

Social Media Award

Fashion Magazine of the year, W

And the win ners Are ...

Vinoodh Matadin & Inez van Lamsweerde Fashion Photographers of the year

Ying Chu Beauty Innovator of the year, Glamour

Carol Lim & Humberto Leon fashion advertising campaign of the year, Kenzo

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Naomi Campbell

Best September Issue, Vanity Fair

Television Personality of the year

Kevin O’Malley Publisher of the year, ELLE

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

stefano tonchi Magazine of the year, W

THE STEFANO SENSATION After four years at the helm of W, Stefano Tonchi’s editorial prowess and influence is larger than ever. Dominating the competition in the realm of fearless fashion photography, and infusing the magazine’s worldview with a tantalizing take on Hollywood and the art world, Tonchi’s crown jewel has never shined brighter. BY ALEXANDRA ILYASHOV FA S H I O N W E E K D A I L Y. C O M

Who’s helped you most on the Hollywood front? My relationship with Lynn Hirschberg, one of the most respected film industry journalists, has been important. She knows all the players—the talent agents and managers, producers, directors. She’s one of the best writers, if not the best. Everyone thinks we’re married! It is a true work marriage. I trust her completely. What kinds of stars have had a real moment in W? We were the first to put Jennifer Lawrence and Rooney Mara on the cover; we discovered them. We also transform people, like that cover with Kristen Stewart. That picture completely sold her to the fashion world; it was transformational. Miley Cyrus, too. What’s the feedback been like? Very positive. We kept getting letters from people, saying they liked that we were doing more culture. I tried not to take away anything that was already there. I was reminded that our mission is fashion—we couldn’t be confused with Vanity Fair, The New Yorker, or New York. You must know your space in the market, but that doesn’t mean you can’t build around it. What’s the riskiest cover you’ve ever done? Kim Kardashian. But at the time, I didn’t really think about it as risky, because everybody was aware of her role as a pop icon. Our cover was not about endorsement; it was actually a critical approach. I didn’t put her on the cover in a beautiful dress to glamorize her, and I didn’t try to normalize her, either. We pushed her to

What does it mean for W to nab the Magazine of the Year title? I’m pleased! W has been around for more than 40 years, and that deserves attention. It’s a magazine that takes risks and presents celebrities before people have even discovered them. Our photographers push the envelope—that’s not the norm in our industry. W has been connecting the dots of contemporary culture—celebrities, art, cinema, and fashion—in a logical context. That’s always been the mission of my career. What was the mag like when you arrived? I think W was suffering. It had become so fashion-obsessed, it was even difficult for fashion-obsessed people. Somebody once said to me that it had become so snobby that even a snob did not want to pick it up. It was so extreme, they had lost their audience. There was a need for an enlarged point of view. Why do you think you got the gig? From my first interview with Si Newhouse, who was really the person who hired me, it was always about bringing my vision that I showed at the Times—giving fashion a larger context. The mission was to reach more people—to be more inclusive and open to what was happening in culture at large. How did you move beyond that extreme, snobby era of W? My big contribution has been making W much more relevant in the art world and in the movie industry We’ve successfully created three pillars: fashion and fashion photography, which is W’s core; contemporary art, as a form of entertainment and as a form of social currency; and a really strong presence in the cinema culture. Are there artists you were surprised to nab? Someone like Urs Fischer? Not easy. It was so incredible to work with Ai Weiwei, because he was under house arrest. He couldn’t leave China. I thought, “How are we going to do this thing?” And how did you? We were going to shoot in China, and then were told we couldn’t. We ended up shooting on Rikers Island, with Ai Weiwei on Skype, so we had to shoot at night. He only had Internet access from 9 a.m. to 5 p.m. Beijing time. He directed the shoot, he approved it; it was historic. He narrated through a model how he was arrested, interrogated, put in the shower naked, all of that. Each picture was a really big process. Incredible. Did these artist relationships kick off at W? All of these collaborations started at T. In fact, there is a big painting in Jeff Koons’ current exhibit —Gretchen Mol as Bettie Page on a dolphin—that was created after a project commissioned by me.

the extreme of being naked, and then collaborated with artist Barbara Kruger and put a really strong, critical message on her body: “It’s all about me, it’s all about you, it’s all about me.” I thought it was almost predictable, but it wasn’t. That was quite the cover. Any others that felt particularly ballsy at the time? In a certain way, the “Good Kate, Bad Kate” cover was so dark and different from anything else out there on the newsstand. I would say that my covers are a little bit different from what W used to do. The previous administration had very provocative pictures inside, but the covers were quite commercial and classic. Any underrated covers you’d like to bring to our attention? People don’t remember the black Marie Antoinette cover of Nicki Minaj as much. It was with Francesco Vezzoli; we didn’t have to convince him. He’s one of my best friends. How about that sublime polka dot–festooned Clooney cover? It was a collaboration with Yayoi Kusama, who did the background and clothes. We aim very high, and then you have to go from there. Kusama was so high that we thought she would never do it! She lives in Tokyo, has a studio and a mentalp o rt ra i t: p h oto g ra p h Y by i n e z a n d v i n o o d h ; i n s e ts : co u rt esy

health-assisted living-care center she goes back and forth between. George only wears Armani, so we had to get a custom Armani suit for him. We mailed it to her and she hand-painted everything and then mailed it back. Including the shoes and the bow tie and everything. Is it challenging to do edgy covers at a mag owned by Condé? Before my time the magazine was more independent because it was part of Fairchild. But in my time here, I haven’t had any kind of [corporate] critiques about the cover. Also we’re mostly subscription-based—our numbers at the newsstand indicate how people react to one cover versus another, but they really don’t determine anything. Must be nice to not have to constantly stress over newsstand stats. Absolutely! I’ve always been very lucky with that. At T, I didn’t have to deal with the pressure of the newsstand. I never accuse colleagues of mine who are putting out very commercial covers of not doing a good job, because it depends on where you’re working, who your audience is, and what your market is. Visuals reign supreme in W’s pages. Photography is our trademark. It’s in the DNA of the magazine. It’s what we’re constantly known for, awarded for, recognized for. Mr. [John] Fairchild was obsessive about fashion—it was that part of the DNA of the magazine. Then, in 1994, when they went to the large format, they decided to re-push photography. Steven Klein, Juergen Teller, Craig McDean, and Mert & Marcus were all discovered in W. Who are your own favorite photographers of the moment? I love the work of Juergen and Craig, Steven Klein and Steven Meisel, Paolo Roversi, as well as Inez and Vinoodh—they just shot the cover and most of the October issue. I’m also very happy to carry on that tradition with a new generation, bringing people like Tim Walker, Willy Vanderperre, and Alasdair McLellan to a wider audience. What’s your relationship with Tim like? Tim Walker had very little presence in the American market. I really believe in him. I think he’s done his best work for W in the past three or four years—we’ve won most of our ASME awards with his work. We’ve been very important in his career, by giving him a stronger point of view, the freedom to express it, and a place to publish it. We’ve helped make him better known to a larger community. Even his commercial work has gotten a lot better.

Who else has been key on the photog front? I’ve developed great relationships with Mert & Marcus and Steven Klein. They’re really part of W’s DNA. Getting Steven back was very important; it took two years. Steven took time off, then he did our 40th-anniversary issue cover, that Kate cover…some very memorable covers I’ve done have been his! I’ve been very happy to have Steven Meisel, too. We’ve given him a space that’s very different from other Condé Nast publications. Is it essential to be really strong visually to be a great EIC today? Yes, you need a strong visual point of view. That was very important in T, too. Besides, we live in a very visual culture; we communicate much more with images than with words at this point. Nobody’s sending any more text messages, it’s all about Instagram. I’m a big fan of telling it with a picture! Let’s go back a bit. How did you know it was the right time to leave T? It was an opportunity. I had other opportunities before, different conversations. I felt I’d done a lot with T in my years there. I’d reached a certain plateau. I actually wanted to go further in the company, and I don’t think they understood that. And I didn’t agree with two or three of their choices in particular. What kinds of choices? One was when they decided to eliminate the style pages from the weekly magazine—that was a mistake. Two, when they decided to cut the size of the magazine. I fought for that, but I lost the battle, and I was not happy about that. I mean, clearly I was right about that one, because they brought the original size back! I never saw T as its own brand. I always saw T as part of The New York Times brand. The real opportunity with W was to create a monthly with a lot of style and energy. T didn’t believe in that. Also, the separation between the Sunday Magazine and T—that was not right. Now, it’s clear that one is killing the other. How about some highlights from your time at T? I was very proud to be part of The New York Times. It was an incredible opportunity—I hadn’t worked at a company that has better business power. Truly, you can show up anywhere with a Times business card, and people know who you are, what you do, and what you stand for. One of the best things about those days is the people I worked with. I found some of the most talented and undervalued people at The New York Times. They were geniuses, and they were totally undervalued. It

the tonchi fan club ADAM MOSS, Editor in Chief, New York Magazine You brought Stefano over to the Times. Why? I had my eye on Stefano for a long time. I really admired the work that he did at Esquire. He was operating at a different level than other men’s fashion editors I’d seen. We’d had some conversations before Amy Spindler’s job eventually opened up. We had a bunch of candidates, but the first person I thought of was Stefano. He wowed me with a very coherent plan, not just how he’d edit the magazine, but how to reconceive things entirely. That’s his great talent—he thinks very, very big. What was it like working with him once you had gotten him on board? A pleasure! He understood, in a very smart way, the conversion of the creative and business interests of the project, of the enterprise, and that is a very difficult thing to do at The New York Times. TIM WALKER, photographer What do you dig about working with Stefano? He totally lets me be who I am and cuts the chase of doing anything but get to the genuine. All my work with him has been memorable and very important. All he’s ever said to me is, “Do what you do and make it strong.” How would you describe Stefano’s personality? Stefano is a very happy, optimistic, and liked person. He’s the best person to be at a party with! Do you have any predictions on where Stefano will be in a decade? I think he’s going to be producing my film, and we’re going to win an Oscar. FA S H I O N W E E K D A I L Y. C O M

JACK McCOLLOUGH AND LAZARO HERNANDEZ, designers, Proenza Schouler What does W mean to you? Jack: W is one of the first fashion magazines I ever looked at. My mom had a subscription when I was a kid. Has Stefano ever given you career advice? Lazaro: So much! He’s a good friend of ours, so we chat about life balance all the time. I’m really impressed that he’s managed to have a family and stay at the top of his game. What’s your favorite thing about Stefano? Lazaro: How well versed he is in everything! He’ll say, “You know about this artist?” It’s like, “Whoa, how do you know about all that?” After dinner with him, I always come home and Google half the s**t he talked about.

CAROLINA HERRERA, designer What were your first impressions of Stefano? He has always had a very striking look, yet an understated presence. He is very sophisticated and very elegant and dapper. What does your brand’s presence in W mean to you? Each magazine photographs clothes in a different way, but Stefano does it in a very particular way, because he has an eye and he knows what he wants his W to look like. It’s surreal and very creative. He has a creative eye. What could you see Stefano doing in the future? He’s doing this very well, and I think he’s going to go very far with W.

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was very sad. How did you end up at the Gray Lady? I was recruited by Adam Moss. When I was at Esquire, I met him socially. The fashion critic at the Times was Amy Spindler, and she’d talked to Adam about me. I don’t know how he hired me, but he believed in me. Then he left. We overlapped less than six months. Why do you think you got the gig? It was Adam’s vision—I didn’t apply for the job, they just asked me to interview. I made a plan, presented it, and I must have been impressive. They were interviewing many fashion writers, who often don’t know what happens on set, or how to deal with photographers. They think you can order something and you’re going to get it—it doesn’t work that way. I sent a box instead of a résumé, filled with a bunch of magazines and books, and I think that’s what got me the job. I was brought in as the Sunday Times Magazine’s fashion editor. I was reworking what fashion was at the Times. Quite a lot changed in your six years helming T. It could have been a disaster. Nobody ever looked at it—until it started making millions. Then suddenly, we were heroes. We went from six to eight issues, then to 12, then to 15…we were a machine. We went from one room to a whole floor. What did you get out of Esquire? Esquire was a great experience, though when I took the job, I had to take a really big pay cut because I was coming from J.Crew, but I believed in working for the most prestigious men’s magazine. There was very strong drinking culture there. When I was there, this female assistant’s specific job was to provide the cocktail hour every day: fresh olives, lime juice, orange juice. She was an excellent editor, by the way. What did you bring to the table? I always said that Esquire’s enemy was its past, because its tradition was so incredible. One of my big jobs there was to make it more memorable for the images. I did a lot of research into the history of the magazine. Few people remember that GQ was a supplement of Esquire! How did you make Esquire a spiffier read? The idea was to sell readers fashion, while they thought they were looking at pictures. David [Granger] was very receptive to that—my biggest idea there was to create something called “Men Across America.” It became this platform, and we carried it on for a couple of years. Every month, we visited a different U.S. state and created a visual essay—lobstermen in Maine, cowboys in New Mexico, farmers in Ohio, the Cuban community in Miami. I brought unconventional photographers, too, like Bob Richardson, the father of Terry! How did that conceit come about? Men don’t relate to fashion in the same way that women do—they’re much more literal. If you put clothes in the right context, they’ll understand it. Any other memorable Esquire moments? We dressed some representatives at the Democratic National Convention when it was in L.A., at the Staples Center; the election Gore lost. Steven Sebring photographed the reps while they were interacting on the floor with the vice president’s entourage. It was really special. We took risks. Sounds like you didn’t regret taking a pay cut to go from J.Crew to Esquire. You have to decide what you want to be in your life, and not be seduced by money. It’s very important to understand that choices have consequences. When I was at J.Crew, we were doing 20 or so catalogs a year, with fun shoots, very good photography. I was recruited to work for Victoria’s Secret as creative director. It was more money, but it was Limited Brands, and I would’ve had to move to Columbus, Ohio. Did I really want to do that? I had to think twice. I mean, one or two years out of editorial can be fun, but I don’t believe in going back and forth. What brought you to J.Crew? I met Emily Woods, the daughter of the owner of J.Crew, FA S H I O N W E E K D A I L Y. C O M

and we really clicked. She said, “Why don’t you come work with me? My father is retiring, and Texas Pacific Group just bought the company. We want to expand into retail, use real models, and create a completely different way of doing catalogs, with an Italian point of view.” Emily really believed in it like I did; I worked there for a couple years. Things didn’t turn out the way we dreamed them, but the catalog was so beautiful. How did you end up as creative director at Self? This profession is all about personal relationships. I went to Self because of Alexandra Penney, one of the magazine’s founders. It was really her creation and her vision. I’m still honored to be a friend of hers. I always call her my mentor—she was the person who really taught me everything about American magazines. I needed a job in the U.S. that would pay me in dollars, and I had already moved here as an editor-at-large for the Italian Condé Nast titles, particularly for L’Uomo Vogue. What was that stint like? It was really strange. I got to know the American woman! I discovered the world of focus groups and market research. Doing Self was not so different from doing J.Crew in that sense. At J.Crew, it was just more direct: If they liked it, they bought it; if they didn’t like it, they wouldn’t buy it. What did you get out of your Self stint? Alexandra taught me so much: strategies on how to put together magazines, covers and coverlines, deks, writing, and American journalism. She’s a great teacher and person. She’s still a very close friend; we have dinner every other month. She was so ahead of her time. I remember one issue was all about the web—and this was in the mid ’90s. It was her idea of social media: “Call me, write me, e-mail me.” We brought talent that was unknown to Self. I hired a design director from Holland. We had great writing, and I tried to book photographers who were of the moment and less predictable. We were the first magazine to publish Inez and Vinoodh’s pictures in the U.S. It was not the most commercial choice! Did you get in shape during your time at Self? I have to say, yes. I like fitness in general; I’m not obsessed, but I had much more attention from the fitness community when I was there! I was working out more, but nothing crazy. I’m very interested in food, but I never read about food. I go to the gym every day, but I’m not a gym fanatic. What lured you stateside in the first place? I just wanted to move ahead. I was not happy in Milan. I was doing very well in my career, but my goal was never to become the editor in chief of Italian something. I wanted to travel, and to be where things happen. Somehow, they happen in New York first. I wanted to be at the center of the empire, not the provinces. Also, I was kind of already with [now-husband] David Maupin, and though he lived in Italy and had jobs there, his career was much more secure in New York. How did you bid adieu to Self? I was at Self for four or five years with Alexandra, and when she left, I worked with the new editor, Rochelle Udell. But she didn’t choose me, and I didn’t choose her. We were working together, but it wasn’t what we wanted. But L’Uomo Vogue first lured you here. I was the fashion editor and the design director at Westuff, my first magazine, though it was never a one-man show. I finished university and I didn’t really know what to do. I was stopped on the street by the fashion director of L’Uomo Vogue, who asked to take a picture of me. They took me to the studio and Mario Testino was there—he took the picture of me. I still have it somewhere! How did that become a job? L’Uomo Vogue wanted to hire me, but I still had my magazine, though I did want to write for them. They called me once and asked if I could do a story in London. I said, “Oh, yes, I am in London.” I was not! I interviewed with the editor in chief. I started as an assistant and a few months later they sent me

to Nepal for two weeks for a shoot. I carried the bags and dressed the monks, and interviewed the king and local celebrities. It was a very homey thing! You have to make your own opportunities. I’ve been incredibly lucky through all my life, but luck is about being ready when opportunity shows up. You created a mag in your twenties. Why was it called Westuff? It was a typical Italian mis-use of the English language. “West Stuff”: stuff from the West. It was this idea of looking at Western culture, trying to connect the dots and show its complexity and relationships. In one issue, you could find John Galliano, Pier Paolo Pasolini, and Willem Dafoe.

Since you were still in school, how did you juggle class and running a mag? Italian university is different. You don’t live on campus; there is no campus. You don’t really need to go take lessons if you don’t want to. You can just show up for your test and pass it. Got any artistic side endeavors these days? I’m working on a big project that I’m very proud of! It’s an exhibit opening in Rome on November 29, the first big fashion exhibition at the MAXXI Museum. The exhibit is titled Bellissima: Italy and Alta Moda 1945-1968 and looks at the work of Italian designers like Schuberth, Sorelle Fontana, Mila Schön, Roberto Capucci, and Valentino in the context of Italian cinema—Antonioni, Fellini, Visconti—and Italian contemporary art, like Fontana, Capogrossi, and Alviani.

the tonchi fan club DIANE VON FURSTENBERG, designer When did you and Stefano meet? It feels like I’ve always known him! He and I share the fact that we both live in America and feel American but are actually born in Europe. He is an incredible professional. He understands fashion in its very, very wide spectrum. What is it like working with him? He’s totally professional, and he highly rates people, he trusts them, and yet he is a very, very precise editor who is totally in charge of his magazine. He is one of the best editors in the world, really, and his career has only started. What do you think of W over the past four years? I love it. It’s never been better. He’s not afraid of being a real editor, which means having a real opinion. LYNN HIRSCHBERG, W Editor-at-Large How did you guys first meet? I remember it vividly: It was in the lobby of The New York Times and I was going in as he was coming out. He said, “You’re Lynn Hirschberg! I knew from the handbag!” Because I always wear vintage, and I had a vintage Hermès bag, not a Birkin—it was more impressive that he noticed because it was a bag that isn’t quite famous. No one would know what it was except someone who would know, like Stefano! He was so charming, incredibly dashing. I remember thinking, “Everything is going to change at T.” What do you appreciate most about Stefano? He’s very generous with time and effort. He’s kind, which a lot of editors are not. In life, I separate people into believers and those who are not. It doesn’t matter what you believe in, but you have to believe in something. Stefano is a joy to work for, and he can accomplish things. It sounds like a small thing, but it really isn’t. Normally, in an office, everyone will get sparked, but then the spark dies. He keeps the spark alive and enhances it. What might surprise us about Stefano? On planes he changes into a cashmere ensemble and then he promptly falls asleep. He travels more than any person I’ve ever met, aside from rock stars. CHUCK TOWNSEND, CEO, Condé Nast How would you describe Stefano? He is an editor’s editor. He has a keen eye, incredible taste, a unique point of view, and a knack for talent. How has Stefano’s time at W enriched the magazine? Stefano has elevated W ’s aesthetic essence. Never gimmicky or trendy, W under Stefano’s direction has earned a tremendous following of artists, photographers, designers, and discerning consumers who deeply respect the brand’s originality, its “of-the-moment” qualities, and its singular sophistication. Why is W important to Condé Nast these days? W attracts a diverse cross section of audiences and advertisers who live and breathe today’s culture of effortless blurred lines—between the worlds of fashion, art, design, film, and society. In a way, it is the quintessential Condé Nast brand. What does Stefano bring to Condé Nast’s legacy of great, talented editors? We are so fortunate at Condé Nast to have the best talent in the industry. Stefano holds a heralded place in the legions of Condé Nast editors. He is uniformly admired by his peers, his team, his collaborators—and even his competitors.

EDWARD ENNINFUL, W Fashion and Style Director What’s your favorite thing about working with Stefano? Stefano has a great sense of art, fashion, music, culture, and society. His passion and knowledge for all of these areas is a huge inspiration for the team at W, and is the starting point of what makes up the magazine. If you had to pick a favorite cover you’ve worked on with Stefano, what would it be? I will always have the fondest memories of the first cover I worked on, of Kristen Stewart by Mert & Marcus. Originally we had proposed a different image as the cover, and when Stefano reviewed the images later, he insisted we switch images. Stefano was right, as this cover became one of the most successful W covers ever.

ARMAND LIMNANDER, W Deputy Editor How has working with Stefano impacted you as an editor? My favorite thing about working for Stefano is also what sets him apart from other editors in chief. He doesn’t impose a point of view; rather, I think he views his role as that of a facilitator. He wants people on his team to work on projects they feel passionate about. Once he trusts you, he gives you wide berth—Stefano is not a micromanager. This allows for different points of view to coexist in the magazine, which I think is a huge asset. Tell us something we might not know about Stefano, please! I’ve never seen him sweat, and I mean that literally. Not even when he plays tennis, or when he’s wearing a suit and tie out on the street during the hottest days of summer. Also, he doesn’t like food in magazines, but he’s a great cook.

JEFF KOONS, artist What has Stefano done as a fashion-centric editor for the art world? He’s been so supportive of the arts, and let the transcending power of the arts come through in the magazine. He understands the vision of art; he doesn’t come in and confuse things. He brings great clarity. When Stefano invites someone in, he sort of moves out of the way, once he’s set up the platform. He’s brought an exciting energy from the arts into his pages, which makes all of our lives more fulfilling. The W art issues are just amazing, too. Any standouts of your work being featured in W? I was photographed with my wife, Justine, and five of our children—now we have six kids—for W ’s family issue, by Patrick Demarchelier. It was a wonderful project, and it’s one of our favorite family photographs. Do you discuss fatherhood often? I love talking to Stefano about his family. Being a father is so important to him. He just lights up talking about his twins; it’s fantastic to see him enjoy their lives. There’s an energy you bring to yourself by exercising parenthood. I’ve been to dinner parties at Stefano and David’s place—their home is very, very comfortable. Any dream project you’d like to collaborate on together? I always look forward to receiving a call from Stefano! I’m always open to a project with him. B F AN Y C . CO M ( 5 ) ; a ll o t h e r s c o u r t e s y

Carine Roitfeld Fashion Creative of the year

Roitfeld with her family

LONG LIVE CARINE In 2014, the establishment’s leading rabble-rouser held sway over the closets of the cognoscenti (via CR Fashion Book) and the fashion-mad masses (via Harper’s Bazaar) like never before. She’s always game to reminisce about her salade days with Tom Ford, but it’s her obsession with the future that’s cemented her reign. BY ALEXANDRA ILYASHOV

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Shot by Hedi Slimane

What’s the biggest surprise about running your very own glossy? I have the freedom to do anything I like! You never know when you’re leaving a title like Vogue how people are going to be with you afterward. I wondered, “Where are they going to seat me at the fashion shows?” It is difficult. You know your position in the fashion world from where you sit at shows. So now, even though I’m not Vogue editor in chief, I get very good seats; I am very happy.

It gives me strength. I loved my years at Vogue, but this is a new life. It’s a new adventure. I still get big recognition from the fashion world, and it warms my heart. You’ve been a real champion of young talents post-Vogue Paris. Some are faithful, some are not, which I have learned. But it’s okay. I found Sebastian Faena, Michael Avedon...I’m very happy with the ones who still follow me. I p o rt ra i t: h e d i s l i m a n e

have a certain talent for discovering new people! Gigi Hadid, for example. I gave her the cover of CR, I gave her a try in Tom Ford, I gave her [a spot in] amfAR, I put her in my Bazaar spread between Iman and Claudia Schiffer and Lady Gaga. When I like someone, I really like someone! I am a courageous person to not work with the same people everyone else is working with. This is my talent. To put Kim Kardashian on the cover? It’s a talent. It’s a risk. You were an early champion of Lara Stone. She had something different; you cannot describe it. It’s an instinct. She was once the sort of girl you take for the show fittings, for the hair and makeup trials, but never to book for the show. Can you imagine? I pushed her. I gave her so many covers, so much visibility. Now she is one of the biggest girls in the world. She’s huge. At times she was a bit huge—you could not zip up a skirt on her. I didn’t care if she was a bit above the regular size; it made her more beautiful to me. Other people didn’t book her because they would think she was a bit too curvy. For me, it’s not a problem. We can cut the skirt! Queen B is on your latest CR cover. That’s quite the coup! Beyoncé asked me. I don’t know why: Maybe she liked the way Kim looked different on CR. Beyoncé is dressed in Comme des Garçons in the shoot; this is huge. I think this picture will stay in fashion photography archives forever. Honestly, it’s the picture I’m most proud of in my career. How did you initially cross paths with Tom Ford? I was working with Mario Testino at the time, and Gucci was, to me, just a pair of loafers. It was not a very exciting brand. Tom called Mario and me to work with him. We said, “Who is Tom Ford? What is Gucci?” One day we said, “Okay, come visit us.” The moment Tom came in the studio, Mario and I changed our minds. He was so charming! So sexy! So good-looking! So we decided to work with him. It was the first time Tom was really doing a collection for women, and it was such a compliment to be his muse. That’s stuck on me— it’s a good, quality label: muse of Tom Ford. How long did you work together? We did Gucci for 10 years, and four or five years with Saint Laurent. I just worked on his last [Tom Ford] campaign. You cannot ever take me away from him! He can find a beautiful model for his perfume or for his runway, of course, but what we have together is unique. Does it feel the same working with him these days? Sure, we’ve changed: I’m a grandma, he’s a dad. But we still have the same idea of an iconic woman. You know when you have a good feeling with someone? Tom is the person I feel the most “me” with. What might we not know about Tom? When he looks at you, it’s like a scanner. He checks everything you’re wearing; the makeup, everything. He tells me if something is out of place. When you know someone, you don’t have to talk. We’re like an old couple. We don’t need to talk to understand if he doesn’t like my skirt. It’s terrible! Have you given Tom parenting advice? No. It makes me laugh to think of Tom Ford as a dad; it’s very nice! I’ve never met [Tom’s son] Jack, but I think Jack and [my granddaughter] Romy are going to meet one day. Tom and I dream that one day they will meet! Also, the way my son Vladimir wears Tom Ford—he has something Tom Ford inside him! He is not a model, but he’s the best model for Tom Ford. He has a way of wearing it. Do you have such a special rapport with anyone else? Karl [Lagerfeld] and I have this very special understanding, too. He calls me Madame Roitfeld. Tom and Karl are both Virgos, and so am I. Maybe it’s a Virgo link. Karl loves Tom, and Tom loves Karl. They’re very smart, and very funny. I laugh a lot with both of them. FA S H I O N W E E K D A I L Y. C O M

What’s it like working with Karl? I’m going to do another book with Karl—we decided to do it based on a Sunday morning conversation. Like a Lou Reed song! Karl has a genius title for the new book: On Sunday Morning. I said, “Get the title now!” Our first book, The Little Black Jacket, might be the most successful fashion photography book in the world. Stephen Gan has been such an important part of your career, too. It’s very strange because I’ve known Stephen maybe 20 years, and through CR and the documentary [Mademoiselle C], I’ve discovered a new person. Not exactly the one I thought he was before. Before, we had a lot of fun, went to parties, but didn’t work hard together. What’s changed? I didn’t know he would be such a hard worker—almost all his life is dedicated to work. He is a very discreet person, too. He never talks about himself. He gives a lot to everything, and he has the best education in fashion, and he knows everything visually, but he has to keep something for himself. I’ve learned so much from Stephen. And I’m not always easy to work with: I live in Paris, I change my mind a lot, I have my craziness… Your personal style has become iconic: kohl-rimmed eyes, sexy pencil skirts, lots of noir, sleek tresses… Where did it come from? I’ve had the same look for a long time! Even when I buy a new skirt, it’s always the same sort of skirt. I have a look, I must say. When I was working for Tom Ford at Gucci, 20 years ago, it was the Gucci girl look, but that was already my look. Tom didn’t copy me, but he interpreted me on the runway. Have you ever tried to switch it up? Of course, but when I’ve tried other looks, I say, “No, it’s not me!” My look is body conscious. I am lucky— I have good legs. Donald “Drawbertson” Have you modified your getups at Robertson’s sketch of all over the years? Roitfeld receiving her My skirts now cover my knees. Fashion Media Award But I will stay skinny, I am sure. I from Tom Ford have always been very skinny. The shape of my body, I don’t think it will change. I still wear the same John Galliano black dress I bought 18 years ago. I do my ballet to keep in shape and get the good posture. Maybe I will shrink a bit when I get old, so I have to stretch. Sometimes now I’ll go with heels that are a bit lower because my back is not so good. Let’s discuss your global fashion director gig at Bazaar. After two years, still most people don’t really understand what I’ve been doing for Bazaar! I’m not just working for American Bazaar; I’m working with no one above me. I have total freedom for [editions in] 30 countries. It’s such power. The job was not my idea; it was the idea of David Carey. I had lunch with him at the top of the Hearst Tower, and it was like, wow! What they proposed to me had never existed before. I didn’t know right away if I was going to do it, but I knew the idea was a genius one. What felt so genius about it? It’s very interesting to be visible in so many countries. It brings other editions things they would not have—I’m not sure they would have Gaga on the cover! For me, it’s big. You put one dress on the cover, and 40 million people see that dress. The message has to be very clear. Do you have to play it a bit safe since it’s such a vast audience? Of course, but each time I’m a little bit more wild. A bit more fashion. I’m lucky, because I have CR, which gives a strong vision of fashion for people who understand and love fashion. I hope Bazaar gives the pleasure of fashion to women who are maybe not as well educated in fashion. I try to make it a bit easier for them. What kind of other projects have you gotten more invested in recently? Now, all the models want to be there in the amfAR show—and it raises a lot of money! Three and a half million Euros just for 42 dresses is a lot of money, I think. I am very proud of all these big projects—the Pirelli calendar, too.

Shot by Mario Sorrenti for French Vogue, 2010

Shot by Mario Testino for French Vogue, 1995

Shot by Mert Alas & Marcus Piggott for French Vogue, 2010

Shot by Mario Testino for French Vogue, 2007

roitfeld: rosie browning

Why are you dabbling in perfume next? Because it’s something I didn’t do before! I dreamed of a perfume because a perfume is not just for one season—it has a heritage. Maybe mine will be like Chanel, you never know! We have to dream. I’ve spent two years working on it. What can we expect? I’m hoping it will launch in September 2015. I’m doing seven different scents! With perfume, you need a story behind it, and my story is quite great. Has being a grandma changed the way you work? I don’t think I work differently, but I think a bit differently. I’m very in love with my granddaughter. Gaga says, “Grandma, this song is for you” at concerts, and it gives me tears, you know? I hope she will be as talented as Gaga. Where do you see yourself in a decade? See, that’s the problem: I don’t see myself aging. You get bitter—your body is not the same, you’re more tired—but I look at Karl, and in 20 years I must have the same energy as him. He sets the standard. I cannot say I’m tired or that I have too many projects. Karl can do everything, so I can, too! I’m not as chic as him, you know. I have a cold right now, and I’m complaining a lot. But I try not to do that too much, because I think that’s such a s**t attitude. As I said to Gigi, “You have to be happy every day.”

Do you live by that advice? Of course, it’s not a perfect world, but comparatively I think I’m quite lucky. I’m Russian, so there’s the sadness in me, always, but I try to be happy, always. Being down and up all the time? That’s the Russian mentality! You’re a model fairy godmother of sorts, non? In a way, yes. Models I work with write me very nice cards. But sometimes with models and young photographers, I can be very mean. Not mean, but very tough, I guess. I’ll say, “You need to do this… stop complaining…” Does your own experience modeling make you more empathetic? Yes. I know that being naked in front of people is not very nice. So, immediately I will say, “Come on, give her a robe, she is not going to stay naked, she is going to be cold,” or “Give her something to eat!” I work a lot with Steven Meisel, and he’s the nicest person with models! He asks, “Do you want to drink?”, “Do you want to rest a bit?”, “Do you like this song?” He gives them the best to be more beautiful. It’s very important. Do you find inspiration anywhere odd? In my bath. It makes me think. It’s funny, because Tom is the same way. I hate showers, so I take a lot of baths. It’s a time for myself, with my music! I also think a lot on the plane. You can’t do anything else, anyway.

Karl Lagerfeld and Carine Roitfeld’s chic tome; Roitfeld at Hotel Raphael in Paris; Roitfeld with granddaughter, Romy; Roitfeld with Hedi Slimane and Stephen Gan at the YSL Ball at Opéra national de Paris

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The Roitfeld Fan Club TOM FORD: “The most amazing thing about Carine—and there are many amazing things about Carine—is her ability to bring out the best in everyone she works with. If you look at a photographer’s work, for example, his best pictures will be the ones that he has taken with Carine. If you look at a designer’s work, their best shows will be the ones that Carine consulted on. Carine helps everyone that she works with become the best versions of themselves. She often will look at something that I’ve done and say ‘Tom, but this is not you,’ or ‘Tom, now this is you.’ Usually, she is absolutely right. She is also one of the most loyal people I have ever known. For me, that’s incredibly important, especially in an industry that is not always known for loyalty.” KARL LAGERFELD: “Carine’s style can be called her very own personal style, but it is also called ‘fashion’! Working with gifted people makes one feel gifted too! That’s the power Carine brings to everyone she works with!” LADY GAGA: “When I hear the name Carine Roitfeld I think classic, timeless, forever. This is at the center of every great artist. She understands iconography, and is responsible for the birthing and evolving of many icons.” HEDI SLIMANE: “Carine has always been a charismatic Parisian, one of the most Parisian women I know, in every detail of her life. She has immaculate taste, and she is beyond unconventional in her thinking. She helped launch my career. As she did with many other designers of my generation, she was the first to support me in the press. Most of all, she has an innate ability to mix street culture and society, always avoiding the caricatures that can define both worlds and always recognizing the mix of both worlds as the only catalyst of energy and creativity. She is progressive and perfectly behaved and an inspiration for fashion designers. She plays by her own refreshing rules, not by the kindergarten politics that often govern the business.” DELPHINE ARNAULT: “Carine has an amazing eye and a unique point of view.  One does not often meet such a raw talent.  Throughout her career she has always surprised and impressed me. And knowing her, there is more to come!”

LARA STONE: “Everything Carine creates is done with ease, kindness, and humor. She’s a genius! I adore working with her and love her inside and out.” JOSEPH ALTUZARRA: “It’s not a coincidence that I have so many pictures of Carine on my mood board every season. She is the model for the Altuzarra woman. But the reason I love her extends way beyond her style; I love her because of her generous spirit, irreverent attitude, and nurturing friendship. Congratulations, Carine, on this wonderful and well-deserved award.” BRUCE WEBER What were your first impressions of Carine? When I met her eight years ago in Cannes, I knew she was an original. She puts her own life into her shoots. You shot her very first CR cover! Her daughter, Julia, was about to have a baby; I thought, ‘Let’s have lots of babies.’ Kate Upton was introduced to Carine, they liked each other, and we shot Kate for CR. That’s Carine’s greatness: giving someone like Kate, who wasn’t the normal size of most models, the chance to be on the cover. What does that say about Carine’s M.O.? Carine believes that nothing is set in stone, and that’s the way fashion should be interpreted. She might think she’s doing a shoot with long dresses, and all of a sudden she’ll decide on the shoot to make everything overly short. What’s your favorite Carine memory, ever? One of the first times I worked with her at French Vogue, we couldn’t find a studio in Montauk. So we set up a studio at Rita’s Stable—friendly farm people, with goats, chickens, pigs, and ducks, and hay bales everywhere. My friend brought along a beautiful girl who worked at a strip club at night; an incredible dancer, with a great body. Carine immediately liked her. Ducks walked around; a pig had just given birth; and Carine turned to me and said, “I’ve never worked in a studio like this.” It was quite magical. We still laugh about that shoot. What would you love to do with Carine one day? We’d go on an unrushed trip, take a lot of walks, go swimming, then take pictures. A story on Carine, maybe! It’d be nice to do pictures of her. Any fun Carine tidbits to share? You’d have to be blind, deaf, and dumb not to know that she’s a really good flirt.

DONALD “DRAWBERTSON” robertson: “Yes, Carine is chic, Carine is sexy and stylish, but the best thing about Carine is that she loves the character E.T. the ExtraTerrestrial. A French fashion icon loves a Steven Spielberg movie character—that’s the best thing. Phone home!” J.W. ANDERSON: “Meeting Carine was a moment I will never forget. Fundamentally, she articulates sharp fashion imagery for the modern world.” KIM KARDASHIAN: “It was an absolute honor to have the opportunity to work with Carine. Her work is iconic and continues to shape the fashion industry.” MICHAEL AVEDON: “Working with Carine is truly extraordinary. She is a true dreamer who has given me great opportunities at a young age. She has nurtured my voice as a fashion photographer with her magazine, CR Fashion Book. I think my grandfather, Richard Avedon, would be very pleased that I’m working with the most iconic Parisian voice in fashion!” KENNETH COLE: “Carine is compassionate and passionate about things she believes in. Through her dedicated and devoted efforts, she has galvanized the fashion community around amfAR’s agenda. Thanks to her support of amfAR’s Cannes event for the past 10 years, she has helped raise millions of dollars for AIDS research.”

BFAN Y C . C OM ( 8 ) ; GETT Y IMAGES ( 5 ) ; a l l o t h e r s c o u r t e s y

Katie Grand International Fashion Magazine of the year, LOVE

Love Is Grand

Indie glossy trailblazer and visionary stylist Katie Grand—long the go-to gal for Miuccia and Marc—changed the way a fashion book could look as an editrix for Dazed & Confused, The Face, and POP. But in 2008, her impact on major runways and singular ability to launch a trend won her publishing’s brass ring: her very own Condé title, LOVE. Since then, it’s been the boundarypushing biannual to watch. BY ALEXANDRA ILYASHOV

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LOVE was launched expressly as a Katie Grand project. How did that happen? I’d been editor at large at POP, fashion director at The Face, and I co-launched Dazed & Confused, so I was kind of on Jonathan Newhouse and Nicholas Coleridge’s radars. I kept bumping into [Jonathan’s wife] Ronnie Newhouse at Dover Street Market. One day, I ran into her by the dressing rooms, and she said to me in passing, “Would you leave POP to go launch a magazine with Condé Nast?” What was your response? “Absolutely. In a heartbeat.” Then, I started talking to Nicholas about it. Jonathan said he’s never launched a magazine for an editor, except for me, which is very nice. What a compliment! How’d things progress from there? Nicholas has been quite public about the fact that he offered to buy POP, and the publisher, Bauer, said no. When I told Bauer I was leaving to do this with Condé Nast, everyone was whooping and hollering about if Bauer would sell POP if we launched something brand-new for about a week. It was quite obvious the team would come with me, and we’d do something similar to POP. With a twice-yearly magazine, you’re always challenging yourself with the next one. Each issue is like a stand-alone project. We had a £750,000 marketing budget for LOVE. Condé Nast brought us really exciting things—like an office with windows! Did it feel like you were transitioning to a more corporate setup? I’ve never had any problem working for big publishing companies; POP was owned by one. But there, we had to do quite a lot of work ourselves, and sometimes it was really challenging. Condé Nast is the best there is at publishing magazines. They have structures that help you do distribution and marketing, things I find very frustrating. There was nothing but relief going to Condé Nast. I finally felt like I was in the place I was born to be. How did you pick your very first LOVE cover girl? I’d worked with Beth Ditto on a POP shoot, with Steven Klein, and I just really loved her energy. I was also very fond of her as a person. When you’re surrounded by new things, you rely on your gut instincts and familiarity. It would’ve been easy to put a very A-list, established movie star, like a Nicole Kidman or Katie Holmes, on the cover. That didn’t feel like the right precedent to set. It needed to be someone different and out-of-the-box. For me, the answer was always Beth—and always her naked. Beth was happy with that! When Nicholas saw the cover, he said “Oh, God, Katie, are you sure?” I’d never been more sure of anything in my life. How fast did the inaugural LOVE issue come together? We finished up POP in October 2008, and we put LOVE out in January 2009. It was quick—about three months. Were there any near-catastrophe moments in LOVE’s early days? Not really. Condé Nast is really supportive, and very good at production. It was a bit like being on holiday, actually! [Laughs] There were all these people helping, rather than us doing everything ourselves. When we sent the issue off

to print, I remember thinking, “Now we’re going to be judged.” Up until that point, it was all jolly, and I’d felt pretty secure about the issue. But there were big expectations. Ever worried about not having enough creative freedom at big publishing houses? It’s never been an issue anywhere that I’ve worked. I’m aware that we have the biggest circulation of all the bi-annuals. You have to know how far to push, and

liz collins

how far to pull back. I like being as mass-market as we can be for something Why’d you put Kendall Jenner on your latest cover? that’s creative. The way she’s gone about being a model, and her motives, are really interesting. Let’s discuss your staff. I’m sure she could’ve picked up a L’Oréal contract quite easily if she’d gone the I’ve worked with our senior editor, Murray Healy, for 15 years—at The Face, celebrity route. She’s made quite a strong, brave decision to be judged the same POP, and LOVE. He and our publisher, Catherine Russell, have been constants as all the other girls who do editorial. That’s very interesting considering her in my career; Catherine was also The Face’s publisher. I also worked with our background. She’s very ambitious. She wants to be judged at face value, for how art director, Matt Roach, at Dazed & Confused. Otherwise, the team is pretty she looks, rather than for her family. young and new. What’s up with the name LOVE? Which mod has graced the pages of LOVE the longest? Because my first name choice, Bubble, wasn’t available. Then, I wanted to call Cara Delevingne. We shot her for our second issue—before she did anything, it Fame, but that wasn’t available. Then, we actually trademarked Starlet, and really. She’d done some child modeling for Bruce Weber, but we used her very I panicked about that, saying, “Oh, God, what if we put a guy on the cover? early on. It’s so movie star.” We went through all these names. Then I sat down with How did you discover Cara? the then-art director, Lee Swillingham, and we looked at an old cover of POP, Victoria Young, our fashion director at the time, brought Cara’s pictures in. with Courtney Love on the cover, and the word “love” across her chest in big She also said, “…and she’s Nicholas Coleridge’s goddaughter, so let’s shoot her.” type. I said, “Can you just move the type? Let’s see how the word LOVE looks.” Vic shot her with Dan Jackson, and she’s been in every issue since. Now, she’s a Sometimes you have to really see type on a page to know how you feel about it. megastar. We drove Condé Nast’s legal department absolutely insane. They must’ve been Any other beauties who’ve been in the mix for awhile? thinking, “Oh, God, we’ve got a handful with this one.” Edie Campbell’s been a constant. Mario Testino shot her for us in 2010, when On the frequency front, ever thought about giving us LOVE more than twice she still had long blonde hair, before she’d done that Burberry campaign with a year? Romeo Beckham. Kate Moss has been Ooh, that’s a good one! No. Seven years in most of our issues, too. I keep coming ago, when I was at POP we went to three back to those three. issues a year, at the request of advertisWhat about photographers? ers. It was really tough, and it wasn’t I tend to like the same photographers, particularly successful in any way. It’d be and use them all the time! I’ve worked really hard to do a magazine with conwith Mert & Marcus on every LOVE tributors I like, putting out issues more cover. Toby McFarlan Pond has done than twice a year. every issue of every magazine I’ve ever How about doing just one issue annuworked on—I’ve worked with him since ally? 1993. Tim Walker worked on our past six It never came up. That’d be hard for both issues. Mert & Marcus have worked with advertisers and readers. You can’t have us for a while, too. something on the shelves for longer than Any photogs you’d love to get into six months. But at one point, we did talk LOVE? about doing an annual issue as an extra Steven Meisel. He’s probably the only thing, which would be really fun to do. photographer I haven’t worked with. You’re renowned for your aesthetic What’s your most memorable cover abilities. Are you a wordsmith, too? to date? When I write, it’s like an iPhone that’s Tim Walker shot Karen Elson and Edie got a glitch. I can write, it’s just not my with a lion, and it was the most memonatural forte. I don’t particularly like rable shoot of my career. We were all so doing it. There are people who do it much terrified! You think having a lion on the better than me! shoot is going to be a really good idea… What kind of writing fits LOVE? and then when it’s there, it’s completely I don’t particularly like flowery fashion uncontrollable. The lion went berserk speak in my magazine; it doesn’t seem and started stampeding around, knockappropriate. It doesn’t fit comforting things over. Karen was literally hidably next to the images. That’s why I’ve ing in a cupboard, three flights up, worked for so many years with Murray because the lion charged toward her. Healey: We have the same reference Talk about being taken out of your points. We liked the same magazines comfort zone. growing up. Any other standout cover memories? What is LOVE’s closest competition? Edie Campbell photographed by Tim Walker, LOVE #10, 2013 I really love the Miley Cyrus cover. She Probably Interview. I don’t think the was a complete joy to work with—she’s magazines are similar, per se, but they’re really smart and interesting. She left also a cool, interesting commercial me with the same feeling as when I met magazine. We’ve both got really good Beth Ditto for the first time. You don’t meet that many celebrities who are that circulation numbers, and similar contributors. I absolutely love Fabien special. Normally, there’s a whole set of rules and problems that you go through [Baron], and Interview’s one of the better magazines out there. I don’t mean before you get to the shoot. All that stuff bores me senseless! Miley was just one bad competition! of those really easy delights: She’d do anything, and is completely fearless. Ever consider doing a U.S. edition of LOVE? What’s the riskiest shoot you’ve done at LOVE? We’re such an international title. Our distribution is half in the U.K., and half I’m usually pretty careful. In six years, I’ve only pulled two images before going in the rest of the world. It’s easily available in the U.S. I suppose if someone to print. came to Nicholas and Jonathan about that, maybe they’d think differently, but Why did you ax those photos? I think they’re pretty happy. Currently, we’ve got a split cover— Kendall Jenner, One was of a guy wetting himself in a pair of pink tracksuit bottoms. I felt Amy Adams, and Christy Turlington—and it’s a very America-friendly issue. uncomfortable with it. I sent it to Nicholas, and he felt very uncomfortable with Ha! Tell us more… it. In the last issue, there was a photo with a costume that had echoes of a Nazi Amy looks so brave in the pictures, because she’s not portrayed as a movie star. uniform. It sat on the wall for a long time. No one else had a problem with it, There isn’t the glamour and gloss of a celebrity portrait sitting. It looks like an but I pulled it at the very last minute. It was very, very, very tenuous. It wasn’t art project. Also, David Sims shot Raquel Zimmerman for the recent issue, worth the fallout if anyone had said anything. which I’m really pleased with. I don’t have much bad stuff to say about my time Two nixed images in that many years is a pretty good track record. editing LOVE, to be honest. There is a strength to the women I put in the magazine. I don’t ever support How do you juggle LOVE with your styling gigs? women looking vulnerable. I’m very sensitive to that. It’s tough. This season I did two men’s shows, and I hadn’t done men’s shows FA S H I O N W E E K D A I L Y. C O M

in a long time. We were in production on the magazine at the same time. But people are pretty considerate of LOVE’s production schedule. Marc [Jacobs] understands that at particular times of the year I have to do the magazine, and that it’s a really important part of my life. If you say, “Oh, we’re in production,” everyone leaves you alone. How did you meet Marc? When I gatecrashed a Louis Vuitton dinner in 2002. Peter Copping was studio design director, and he said, “Oh, come along for a drink.” I went along with Charlotte Stockdale—knowing me, I probably took along five other friends, too. We got quite a frosty reception because it was a proper, sit-down, formal dinner with the team. I was pretty precocious. I didn’t really care that everyone was a bit sniffy that we were there! FA S H I O N W E E K D A I L Y. C O M

Got any unique Marc insights? He’s such an open book. Every interview he does, my jaw always drops on the floor. He’s quite exceptional in his attitude toward his team; he always thanks the people that make it all happen. He’s very different from other designers, who lead you to believe they alone decide how long the stitch is on a handbag. There are many designers who never thank the team or even talk about the team. He likes to say “we” a lot, which is so nice. Why do you two have such creative chemistry? You just meet those people in your life, and you either have a rapport or you don’t. In fashion, the hours are so long. If you’re not having a good time, you should just get out. It’s not worth it in the long run. There have definitely been years where I’ve seen more of Marc than I have my husband.

How did you feel about Marc as a designer before you were pals? I genuinely love what he does. Before I met Marc, I was a customer. Even way, way back when I didn’t have much money, I’ve always spent all my money on clothes. I would always buy Marc Jacobs! Even in 2001 or 2002 I would buy Vuitton, which was a fortune. You never get a discount at Vuitton. If you had to play favorites with Marc’s shows, which stand out? I really loved the Vuitton Spring ’13 show, with the escalators. It was this really amazing art piece. I actually cried at the end of that show, which is the only time that’s ever happened. I also loved Marc’s Spring ’14, show. Everyone was pretty perfect; of course, Sky Ferreira walked the wrong way and Cara followed her, things went wrong, but when all the girls were lined up backstage, it was pretty special. You’re quite adored in the biz. Why do you think that’s the case? I choose the right people to work with! My brutal honesty doesn’t suit everyone. That’s a very British thing: Tell it like it is. We’ve got a lot of stuff to get through, let’s just get on with it. Miuccia [Prada] said to me very early on in my career, “I don’t pay you to be polite.” I’m actually employed for what I think, and I always cut to the chase. Some designers like their egos massaged a little more than I will do. Then again, I’ve been wearing Marc’s clothes every day this

college for me. It suits some people, and it doesn’t suit others. I knew what I wanted to do with my life. I just didn’t really know how to do it, and college wasn’t helping me do it. What did help you out? By chance, I met Rankin and Jefferson [Hack] in a bar; they were setting up a magazine. I just thought, “Well, I should start living my life now.” So that was what I did while still at school on and off for another six months. How did your parents feel about you leaving college? My dad was fine with it. My mum was disappointed, because it was a risk. She didn’t have the opportunity to get a degree, and she wanted to see me do what she didn’t have the opportunity to do. A few years later, it was all fine. They were quite normal parents. I think they just wanted me to be happy, and to do what I wanted. Of course, it’s a risk when you’re 22 and you say, “I met these kids in a bar, and we’re going to start a magazine.” It all worked out! They’re both really proud of me for that. How would you sum up your sense of style? It depends on my weight. Whenever I’m feeling thinner, it’s always Azzedine [Alaïa]. If I’m a bit heavier, it’s jeans and a jacket. I go through stages, like everyone, where sometimes you make more of an effort and sometimes less of an effort. Right now I’m quite into making an effort: Marc, Azzedine, mixed in with quite a lot of Miu Miu. Apparently, you’re quite the glossy collector. I’ve got Vogue since ’84. I’ve got a big library at home, and everything is bound. The room is now overflowing; I need to think of a room to put some more shelves in. It’s just for personal pleasure—I’m incapable of throwing stuff away. It’s the same with clothes, shoes, handbags. I have a mountain of stuff. It just is getting bigger. It never gets smaller. What’s a classic Katie-ism? “Oh, that’s very jolly.” If I say something is jolly that means it’s a winner. And if it’s definitely not a winner? My face is quite good at telling the story without opening my mouth.

MARC JACOBS muses…

season, which must be nice for his ego, but it’s very genuine. Let’s discuss Miuccia. She’s quite magical. She lights up a room, and she’s really clever. Her taste is absolutely, unfalteringly impeccable. Oh, and she always looks amazing. The surprising thing about Miuccia is, she’s really warm and in some ways quite maternal. We’re quite fond of each other. She and I see each other all the time, in that fashion sense of “all the time.” What do you get from styling that you don’t get from doing LOVE? Working with really amazing embroiderers, craftsmen, looking through fabric archives, and helping design a pair of shoes that you really want to wear; that’s all really exciting. Finding a new way to say something that’s been said a million times before. How early on did you decide you wanted to be a mag editrix? When I was 17. I first became aware of magazines when I was 13, when I was sick and my dad came home at lunchtime and brought me copies of British Vogue, i-D, and The Face. Soon after, I knew that’s what I wanted to do with my life. What did you get out of going to Central Saint Martins? I didn’t learn very much at Saint Martins, I have to say. It was good fun socially—though they should tell you on your first day, “Be nice to everyone, because you’re still going to be in the same circle in 20 years’ time.” But it wasn’t a great

What do you love most about Katie? She comes in with a lot of energy! She’s very enthusiastic. It’s very easy to have a dialogue with her. She understands me, we throw things at each other, and it evolves from there. We’ve got similar references, likes, interests. Our sense of humor is the same sometimes—most times, actually. I need to work with people who push and challenge me. We both have these similar whims, and an inclination to go further than we have in the past. Katie describes herself as very blunt. Why do you dig that? Who has the patience—or the desire—to work with people who just say, “That’s great?” I’d rather deal with honesty and the discomfort of a challenge than the smooth failing of people just “yes-ing” me all the time. I rely on Katie to respond with her gut reaction. Sometimes there’s friendly disagreement, but it’s good to have someone that instinctively responds. When Katie worked with Prada, Miuccia Prada said to her, “ You’re not here to win a popularity contest.” It isn’t about everybody liking you, although I certainly love Katie! What has Katie done for the fashion industry with LOVE? It’s a great extension of her, and her sensibilities: It’s really young, cool, and it doesn’t fit this commercial idea of what a fashion magazine should be. When I look at LOVE, I hear Katie’s funny, adorable laugh. It puts a smile on my face. If you had to single out a favorite collection you’ve worked on together… The most crazy and chaotic time for us was when we did the final Vuitton collection and the Victorian collection we did [for the Marc Jacobs line], at the same time. The clothes were so detailed. We both wanted to go so, so far— embroidery on top of embroidery! There was this sense that we just couldn’t do enough. We both are equally challenged when things get insane. We get amused when something is over the top and starts looking like a Muppet. Pardon? Those are the kinds of words she and I use. A creature, a Muppet—our references have become sort of crazy, obscure, and weird! Building up to a show, everything gets pushed further. There’s a kind of chaos, anxiety, fear. But there’s always Katie’s giddy laughter in the background. What’s your fondest off-duty moment with Katie? When we had the Vuitton show in Shanghai, we had a sort of after-party in a hotel suite. Katie’s always got a killer playlist on her iPod—she often provides music for my fittings. We were jumping on beds, dancing to Katie’s music. We blew the speakers, broke the beds, and caused a hell of a lot of chaos and havoc. Katie and I have this energy; it’s like we’re kids! It’s a very good feeling. I enjoy sharing that with her. pat r i c k m c m u l l a n . c o m

Graydon Carter Best september issue, Vanity Fair

A Vanity Fair To Remember

Between that smokinâ&#x20AC;&#x2122; Natalia Vodianova cover shoot, the Isabella Blow/Lee McQueen excerpt, and that hotly debated best-dressed list, Vanity Fairâ&#x20AC;&#x2122;s September issue was a feast of fashion delights. Editor Graydon Carter talks us through his recipe. BY EDDIE ROCHE

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

How do you pack a comprehensive look at fashion into one issue? We focus in large part on people who have an enduring sense of style. Natalia Vodianova, whose sense of style goes right to the heart of how she lives her life, is a perfect example. She’s got an incredible story, only parts of which I knew. It’s been a long journey from where she came from in Russia to where she is now, and I like that story. It’s very uplifting. The people that Mario Testino shot for the best-dressed list are people who have developed their sense of style over the years, often in the public eye. It’s not easy, but I have a strong team behind me. Why was Natalia so intriguing? I’ve known her on and off for the past 10 or 12 years—we donate invitations to the Oscar party to her charity—and had a dinner earlier this year for her and Antoine [Arnault] when they opened the first Berluti store in New York. She’s just an incredible and engaging woman. She’ll have an important career way beyond modeling. We always look for a person who has a story behind them—not everybody has one—and also somebody who is attractive, both visually and emotionally. She certainly fit the bill. You’ve said in the past that you’re not much of a fashion guy. Did you learn anything putting the issue together? A few things. That I should be wearing hats more, for starters. They’re doing wonders for Pharrell Williams. The smart people choose a few things each season to compose something for themselves that will endure. I don’t change the look of my clothes that much from decade to decade, but I’m not young. I have great admiration for designers. With the amount of staggering images flooding the Internet every day, it’s very hard to keep abreast and stay original. What kind of hats? Actually, scratch that. I look crappy in hats. Do you make suggestions for the best-dressed list? Oh, yeah! I see it right through to the end. A large part of it is a secret meeting with a lot of mystique, but a part of it is very open to the public as well, now that people can vote online. Do you ever kick people off? Oh, yeah. I don’t kick them off the list. I kick them off the proposed list. Why? Some get on there through politics in one form or another, and you look at them and think, “This person has absolutely no style.” How has the list evolved? In the past, there were a lot of socialites and people who did not live in the public eye. Increasingly, the list includes people the readers relate to, and those are often in the film

or music business. You don’t see a lot of writers on the best-dressed list, because they’re more private individuals and not part of the ongoing parade. Do people try and schmooze you to get on the list? They don’t do it to me, but there are some people who will try and politic for themselves and talk to the other members. I get almost no coercion during the year. That surprises us. Me too. Who came up with the idea to shoot the portfolio subjects in daytime looks? Mario Testino and Jessica [Diehl]. We did something similar last year and thought it was a fresh way of shooting people in a contemporary setting. The readers are used to seeing paparazzi images instead of highly styled fashion photographs. Most of these people are not models, and we put them in a rough approximation of their element. I think it works quite well. Does anyone ever ask to be taken off the list? Occasionally, but that’s rare. When I was on it in the ’80s, a friend of mine called me from Madrid and they had read about it in The International Herald Tribune. I was at Spy at the time, and I didn’t want to make a big deal of it, but secretly, I was quite tickled. Edward Menicheschi is leaving the magazine to head up his own sales division. How do you feel about that? I feel terrible. He’s a phenomenal publisher, and I loved having him as a partner. He’s the fourth Vanity Fair publisher to go on to run group sales, in fact. I guess it was only a matter of time before it happened. If it had to happen, the last couple of weeks of August was the best time because it’s quiet. I’m not going to rush into anything with the next publisher. We’ll announce soon. Page Six suggested that Vanity Fair commissioned a controversial story about Dolce & Gabbana. Was that intended for the September issue? It would have been perfect for September, but it wasn’t fully scheduled. It was going to run sometime this fall. I wanted to wait and see what the judge said about their future, so it’s on hold for now. We have probably 30 or 40 different stories on hold at any given time. Were you annoyed it was leaked to Page Six? Of course. I think the Dolce & Gabbana people leaked it.

p o r t r a i t: c o u r t e s y j o n at h a n b e c k e r

you have fewer pages to try to tell all How would your describe your the stories. Thick issues are a chalpersonal style? lenge because they’re filled, and it’s a Boring and conservative. I wear big issue to close! the same clothes to work every Do you read any September issues day: a pair of gray flannels and a aside from your own? blazer of some sort. I’ll probably leaf through most What about weekends? of them soon. Vogue is the grand Shorts and a polo shirt in the summommy of all of them, but they all mertime. I’m in corduroys and a do a highly ambitious job. polo shirt in the winter. Thoughts on Condé Nast’s impendThoughts on shorts to the office? ing move? I love shorts! If you’re a man and Love it. I spend about eight seconds you’ve got the legs, go for it. in Times Square every day, so it’s What about the no-socks look? not like I’m going to miss anything We hear you’re not a fan. there. I live downtown and I can see Those guys at GQ have lovely ankles and I think they should show the [One World Trade Center] buildthem off. My particular bugaboo ing from the end of my block. The is actually open-toed shoes for new downtown area is going to be women. There are some women like Rockefeller Center for the next who can do it, and some who, century. It’s quite something. well, shouldn’t. Will you have a bigger office? A spread from the September issue of Vanity Fair. What’s your favorite issue to put It’s about the same size, but I’ll have a view of the harbor, which will be pretty exhilarating. It’s a whole new world. together? The building I do miss is 350 Madison. The Oyster Bar was down the block, That’s like talking about your favorite child. The October issue is a particular with Brooks Brothers on one side and Paul Stuart on the other. favorite of mine, because it’s about the New Establishment and business. But It was perfect. each issue has its own challenges. Thin issues are more challenging because

VF-ers weigh in! AIMEE BELL, DEPUTY EDITOR Favorite anecdote from working on the September issue? What could be better than Donatella Versace’s answers to the Proust Questionnaire? When do you start plotting the bestdressed list? It’s a year-round event. How many VF staffers weigh in? The proceedings are confidential. What’s Graydon’s role in the process? He cares about every detail. Who was the most controversial choice on the 2014 list? Pharrell’s hat!

MICHAEL CARL, FASHION MARKET DIRECTOR How many looks did your team call in over the course of putting the September issue together? I’m going to have to ask my therapist. Maybe he’ll remember. Were any bagels harmed during the production of the issue? No bagels were injured. I think you’ve misunderstood me. Bagels are constantly trying to derail me from my diet. I love bagels; I just can’t f**k with them. Any September survival strategies you’d be willing to share? They key to surviving is knowing that a vacation is right around the corner. What’s your favorite story in the issue? My favorite story is the style portfolio shot by Mario Testino, because when I asked Grace [Coddington] if she wanted to look at her clothes, she looked at me, surprised, and said, “You got me clothes? Yes, I’d very much like to see them.” Thank God it was a rack of Céline! I adore her photograph in the spread. Grace looks beautiful and the grumpy cat is heaven.

WHO SAID WHAT? The September issue contained countless pearls. See if you can match the quote to the source! 1. “People either think I have a crazy Polish accent or a British accent, and then I say ‘gnarly’ and surprise everyone.” 2. “In the past, I have lied to myself. I hope that is not true anymore.”

JESSICA DIEHL, FASHION AND STYLE DIRECTOR Favorite memory from the shoot? Too many to choose from! Mario Testino shooting the Dellals on Bond Street only to be interrupted by friends and fans, while the boys grew so impatient they couldn’t even be soothed by biscuits. Nicky Haslam regaling us with the story behind each piece of his Savile Row kit. Neil Patrick Harris wandering about the dressing room in his underwear discussing the finer points of glitter nail varnish. Betty Catroux sipping wine while casually waiting for her turn to be shot. Helena Bonham Carter singing Mary Poppins songs while children bickered over superhero costumes. Jeremy Irons arriving straight from JFK in a look somewhere between Lawrence of Arabia and Easy Rider...

donatella versace natalia vodianova Emily Ratajkowski

3. “Fashion is a vampiric thing. That’s why I wear the hats, to keep everyone away from me.” 4. “Talk about bite the hand that feeds you. I bloody chewed it up and spat it out.”

5. “I like big things. I’m six feet tall.” 6. “I spent my life trying to make my mother feel better. She was miserable and tired and alone, and I wanted to look after her as much as I could.”

Isabella Blow Alexander McQueen Jenna Lyons

ANSWERS: 1. Emily Ratajkowski; 2. Donatella Versace; 3. Isabella Blow; 4. Alexander McQueen; 5. Jenna Lyons; 6. Natalia Vodianova FA S H I O N W E E K D A I L Y. C O M

b fa n yc . c o m ( 5 ) ; pat r i c k m c m u l l a n . c o m ( 3 ) ; g e t t y i m a g e s

Inez & Vinoodh Photographers of the year

IT TAKES TWO

Flip through any top glossy these days and you’re bound to encounter the magic of the industry’s most prolific photographic duo, Inez Van Lamsweerde and Vinoodh Matadin. Since their slow-burn courtship at art school in Holland, they’ve made iconic fashion imagery their business, and it’s booming. BY ALEXANDRA ILYASHOV

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

Remind us: How did you first cross paths? Inez Van Lamsweerde: We met, sort of vaguely, in art school. Vinoodh was two years ahead of me. Vinoodh Matadin: I studied design. I needed a photographer to shoot my collection, and somebody reminded me of Inez, so I called her. Inez: First, we were friends; we were both in relationships. Vinoodh: It took six years to synchronize. What was your first big project together? Inez: We were invited to come to New York as artists in residence at PS1 in 1992 and 1993. After a year, Vinoodh decided to stop designing and just do photography with me as a team. We called every agent and magazine; it was very difficult to get an appointment with anyone. No one would even look at your book, even if

Gisele Bündchen in French Vogue, 2012

you were allowed to drop it off. An agent told us to go back to Holland, become stars in Europe, and then America would take us. So that’s what we did. Were you relieved to go back to Holland? Inez: New York was hard; we were sort of lonely. Vinoodh: So we started working with BLVD, a new magazine in Amsterdam. Inez: We did everything; we styled together. It was also the first time we used the computer to put stock slides from image banks as backgrounds behind models, which were shot in the studio. At that point, computers weren’t used at all in fashion; they were only used to straighten cigarette packets and make cars shinier. We saw the possibilities of controlling the whole image: making the background and the foreground equally sharp, with a hyper-real sensibility. Vinoodh: It was in the midst of grunge; everything was black and white, and our work was very colorful. We did everything—the clothes, the styling, FedEx, the layouts—and when it was finally printed, they forgot the credits! Inez: Then we sent it to The Face and Interview. Interview never responded, but The Face called us back immediately and said, “We normally don’t buy pictures that are already published somewhere else,” but they loved it so much that they published it in April 1994. What happened next? Inez: One month later we got a call from U.S. Vogue asking us to do a series. Anna Wintour was calling, so we thought maybe it was time to go back to New

York. Meanwhile, a few pictures from a show we did were chosen for the Biennale in Venice and for the Matthew Marks Gallery in New York. Vinoodh: Everything came at the same time—fashion photography and the art world—which is pretty much how it’s been all along. We were about staying independent. Inez: But at some point, we realized we had to play the game, really subvert from within. Now, our work is subversive in a more subtle way. When you’re young, you want to hit everything with a big hammer. We’d have 400 ideas for a single photograph. How did your Vogue debut go? Inez: It was Niki Taylor in a Stephen Sprouse series, styled by Camilla Nickerson, shot in L.A. We brought along all the shoes by a Dutch designer for the

Lady Gaga in V, 2013

shoot. We were so naive! We had no idea how everything worked. Vinoodh: We worked really hard. We had two days to do it, and we shot it all in one day. Had you ventured to L.A. before? Inez: No! We couldn’t believe it. For lunch, there was all this pasta and salmon and salad, and we were like, “Look at that! This is the life!” We were used to peanut butter sandwiches for lunch. We were totally flabbergasted. Vinoodh: I mean, I still can’t believe that ran in Vogue. The way we work, there’s just one finished image, with the background. That wasn’t really the way Vogue worked—they usually have a choice of images from the photographer. What kinds of doors did that shoot open? Inez: We got an agent because of Vogue, and we became friends with Stephen Gan. He basically took us in. Vinoodh: Right before we made the decision to go back to New York, Stephen was in Amsterdam and wanted to meet us. He stayed a week in our house, and when he left he said, “If you ever decide move to New York, call me.” A month later, we called from the airport and he said, “Oh, great! Come over for dinner.” So we went to his house, had dinner—and stayed for a year, on and off. How did Stephen usher you into the NYC fashion circuit? Inez: He was very sweet. He introduced us to everybody, took us under his wing. He’s our biggest supporter, and still our sweetest friend. One year, courtesy

Julianne Moore in T, 2013

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

Kate Moss in Gucci’s 2001 ad campaign

Stephen bought tickets for a Met Ball after-party, and I remember seeing Iman and Jerry Hall; Cecilia [Dean] was wearing a dress she’d borrowed from Christian Lacroix. We were like, “You just borrowed a dress?!” We both went in jeans and T-shirts; we had no idea. Besides Stephen, any other pivotal encounters from the early days? Inez: A mutual friend introduced us at a party to M/M Paris’s two art directors, Mathias Augustyniak and Michael Amzalag. Shortly after, the same friend said, “Oh, you’ve got to check out this young kid who’s the new designer at Balenciaga.” So we went to see Nicolas Ghesquière. We immediately became friends and started working with Nicolas in Paris on Balenciaga campaigns. Yohji Yamamoto and Balenciaga were incredible relationships—so free and inspiring, almost like making movies. All the rules were different then! Is it hard to be creative now that so much more is expected—and expected faster? Inez: It depends on the job. If you have a real rapport with the designer, you construct the whole thing together, like we do with Stefano Pilati. But now, so many projects start with a video, from which the print campaign images are derived. Vinoodh: It’s a lot more work, but thank God for our way of working! From the beginning, we’ve approached everything like a movie. It makes it so much easier. How did shooting those early campaigns compare to ediTom Cruise in torial work? W, 2002 Vinoodh: When we shot for Yohji, we thought of it as an art project. We wrote a whole synopsis of the campaign’s

woman, looked for locations, did light testing, everything. In those days, we’d only do one or two campaigns a season. How were you navigating the biz back then? Vinoodh: Another very important thing in the ’90s was meeting our agent, Jae Choi. Inez: We immediately connected with her. She paid her dues as an assistant, and when she started her own entity, we immediately went with her. We’ve had an incredible working relationship: She’s very straightforward, extremely organized, and good at seeing the big picture. That’s so key in our profession. Things can get ramped up because of emotions. There are a lot of politics. Jae keeps it all calm and straight. She’s the third brain that keeps things together. Tell us about your other projects in the ’90s. Vinoodh: The highest of the highest of the pyramid was doing Calvin Klein in 1999. Inez: It was sort of the finishing school of fashion photography. Calvin was still at the brand; we learned so much from him. He was so driven, focused, and motivated—he completely understood what his brand needed. He’d call me at night and say, “Inez, you have to find me a new Brooke Shields.” Vinoodh: Calvin was also very honest. He said the brand needed a real makeover, a boost, to revamp everything. Inez: We were the people to make it cool again. How did you do it? Inez: We found Jessica Miller through a casting, and we knew we’d found the new Calvin girl. We were so inspired by the way Jessica moved. That was also the first time we worked with our choreographer, Stephen Galloway, who was a dancer at William Forsythe’s Ballet in Frankfurt. We thought the courtesy

Niki Taylor in a Stephen Sprouse series, Vogue, 1995

campaign needed a lot of body positioning; it felt different from a regular fashion shoot. Jessica and Stephen completely gelled—she was a very good dancer, and it just came together in such a wonderful way. That shoot informed the body language of our work from then on. What was the next big campaign coup? Inez: Gucci. We did one campaign with Tom Ford—he’s very opinionated and strong. It always works best for us when someone really knows what their brand needs to be, clicks with us, and you arrive at a really great image. We were working with Kate Moss. You put the clothes on her and she immediately knows how to move to make them look incredible. We also worked with Melanie Ward for styling, Lisa Butler for makeup, and Eugene Souleiman for hair. What else happened in the early aughts? Inez: A Louis Vuitton campaign with Christy Turlington, Kate Moss, and Stephanie Seymour. People still talk to us about that campaign—it was so new for the brand, so different. That’s when we met Stephanie and Christy. They are supermodels for a reason! We’ve shot Christy for so long. Jessica Miller in Is she your go-to mod? Calvin Klein’s 1999 Inez: I mean, if someone told us, “You can only shoot ad campaign Christy for the rest of your life,” we’d be like, “Fine!” Vinoodh: She has no fear. Inez: There’s complete confidence and trust. Apart from being an incredible model, she decided at some point, “Okay, people know me, I’m beautiful, and with that I want to help people.” She’s such a full realization of herself. Gisele [Bündchen] is the same way. I could spend days with her! She’s always funny and happy. Well, if I looked like Gisele, I would be, too. She’s got an incredible presence. What’s Gisele like on a shoot? Inez: Well, she talks a lot. Vinoodh: It’s her way of losing weight. She always says, “I talk so much, I can eat anything!” It’s true. She arFA S H I O N W E E K D A I L Y. C O M

rives at a shoot talking, and she leaves talking. Inez: Two years ago, we shot Gisele for French Vogue. We had to drive to the location, and she insisted on driving the car herself. She’s talking the whole ride over, with her head turned around. We were like, “Gisele, please, look at the road!” She was just loving life, interested in everything and everyone. Enlighten us: Who does what on a shoot, exactly? Inez: That’s always the question! We shoot at the same time; outdoors, we both use Canon cameras. Vinoodh moves around more and shoots from all different angles. I usually find my shot and stay there. It’s the same in the studio, but I’ll use a Hasselblad. I direct and engage the model, have her look at the camera, while Vinoodh walks around and gets different kinds of pictures. More voyeuristic, introverted images. Between the two of us, we always have the picture! How did you whip up this technique? Inez: I used to take pictures, while Vinoodh would function as art director. In 2000, we were shooting Charlotte Gainsbourg for Harper’s Bazaar with Melanie Ward, and our lighting director had ordered me a new camera. I didn’t really want to try the camera, but Vinoodh wanted to play with it. His pictures were amazing, and that was it! Vinoodh: Then, we photographed Tom Cruise for the first time, for Talk; the same photos later ran in W. Tom was unaware I was shooting, and in the end we chose all my pictures. It was a softer, more intimate vision. The photos were pretty sexy. Who else makes up your team? Vinoodh: We’ve worked with our whole team of people for years. Our lighting director, Jodokus Driessen, has been with us for 22 years! He lives in Holland and flies all over the world—wherever we are, he comes to do the lights on our shoot.

What has been the most joyous part of working in tandem? Inez: Life is too short not to experience everything together. We feel very blessed. People ask, “How do you do it?” Well, “How do you not do it?!” Vinoodh: If you find someone you really, really like, don’t you want to spend time together? Have you ever considered doing solo projects? Inez and Vinoodh: No. Inez: We don’t really see the need to. Walk us through your more recent work. Inez: We decided four years ago to focus on video, relatively early on. We built a team, because we thought that’s what [the industry] would really want. And that’s what happened. Until the RED camera came along—which is so easy to shoot, so lightweight—the process of shooting with a big movie camera was very tedious and took a long time. There’s an element of spontaneity in fashion photography; reacting to a moment is essential to our work. Vinoodh: Another big moment was our opening at Gagosian Gallery in L.A. last summer. Inez: Looking at our work in a gallery and getting someone else’s opinion on it has helped us look at it in a different way. It’s been thrilling. Lately you’ve had some intriguing side projects, like your fragrance debut last year.

Vinoodh: The idea has been around since the ’90s! Then we met Ben [Gorham] from Byredo, and he asked us to do a fragrance for him. We showed him the image, and thought the smell should be of dark amber and berries. Inez: There’s a double layer to the image: She has this sweetness, but also this darker side. The red lips, her eyes rolled back… That’s what our work is about: dualistic forces. The scent first started as a Christmas gift for friends only. Lady Gaga in V, 2011 Vinoodh: Everybody was like, “Wow, it smells so good, I need more!” We did it again the next Christmas in travel size, and people really loved the smell. How did your jewelry collection come about? Inez: Vinoodh wanted to make me a present when our son turned 10. We’d worked with Ten Thousand Things on a charity project for the past two years, so Vinoodh asked them to make a necklace based on our wedding rings, with a star, because our son’s name is Charles Star, and 10 stones, for his age. When I was wearing it, people were always asking me where I got it. So we made it into a collection. How about your jeans collab with Frame Denim? Vinoodh: For many years, I was looking for perfectly fitting black jeans. Erik Torstensson from Frame was like, “Why don’t you make a pair?” and I said, “Yes, why not?”

inez and vinoodh’s Fan Club STEFANO PILATI, Head of Design, Ermenegildo Zegna, and Creative Director, Agnona What were your first impressions of them? Until you start working with them you don’t really understand the dynamic, you don’t even understand the eye. The exchange is among three people—somehow, you add a level of research and confrontation that is better and wider. I think it’s very rare. I feel very comfortable with them now, because we know one another so well, so I am never scared to suggest a concept. Sometimes, as fashion designers, we are a bit put in a corner because of corporate needs or strategies that they push to direct the concept of a campaign that can easily become quite conformist. What I love about my work with them is that we always pushed these boundaries with lots of freedom. I always get to a point where my concept is quite precise, but I love the idea that there’s a little gap between what I’ve imagined and what they see from behind the camera. MELANIE WARD, stylist How would you describe your relationship with Inez and Vinoodh? They’re like family to me. I have so much respect and love for them on every level! I’ve collaborated with this iconic duo for most of my career in fashion to date, on so many wildly diverse projects. What’s the dynamic like? Each and every time we work together, I’m totally happy and inspired. Their poignant, high-octane images transcend time, stir emotion, have soul, and define the zeitgeist. They build, redefine, and reinforce brands, capture their subjects’ essences, and push boundaries in the fashion and art worlds. I feel infinitely proud of everything we have achieved together, and of our enduring friendship.

STEPHEN GALLOWAY, choreographer/movement director What’s the dynamic when you work together? It’s a dynamic that is constantly developing, season after season. It gets better and better. It’s kind of like an extremely exciting pas de trois—a ferocious, ecstatic, orgasmic dance. I call them Mom and Dad. I don’t know any other fashion photographer out there who really loves fashion as much as Inez and Vinoodh do. They could easily be the best stylists in the world, too, if they wanted to. What is your role on a shoot? I try to interpret their visions physically in a four-dimensions type of presentation. I come from choreography, so I basically provide them with more possibilities. I work with the models to give them more possibilities in terms of angles and shapes, choreography, and depths of field. As a creative movement director, I try to bring an intensity of movement to the images, even when they’re just standing still, like in the Valentino campaign, with a very simple hand gesture.

STEPHEN GAN, editor You met Inez and Vinoodh in Amsterdam… I was walking down the street with the one person I knew there, and a car pulled up. Vinoodh was driving, and Inez was sitting next to him, and they said hi to my friend. The next day, I asked my friend to find the phone number of these young photographers, Inez and Vinoodh. When I called, Inez answered, and I said, “I want to meet you guys,” and she said, “You already did!” What was it like hosting them for a year in NYC? I didn’t even think about it much. It just happened, and a year later it was like, “How long have you been living here?” We just got along really well. I felt like they would be huge. They’ve always been such a powerhouse—they’re like the Jay-Z and Beyoncé of fashion photography. Why did you have a hunch they’d be so successful? It just sort of happens; it’s never really planned. They have such conviction about everything they do; their projects never seem hokey. A favorite on-set memory, please. Once, we were supposed to shoot Liza Minnelli. She was already an hour late when her publicist called, saying, “Sorry, Ms. Minnelli can’t make it today—she got up on the wrong side of the bed.” We thought that was the most genius line ever when you’ve kept an entire studio of people waiting. We just laughed and went for lunch. You’re like their godfather of sorts, no? Funny you should say that! I’m actually the godfather of their son, Charles. JAE CHOI, agent, The Collective Shift What has it been like working with them over the years? It has been a wonderful collaboration that is always pushing for growth. They have an incredibly complementary and synergistic relationship. Even if they come at a project from a different point of view, it always becomes one unit in the end. What’s something we might not know about Inez and Vinoodh? They’re funny! They like things like Romy and Michele’s High School Reunion or A Night at the Roxbury. The way they work is very inclusive rather than exclusive. LOUISE NERI, Director, Gagosian Gallery You showed their work at Gagosian last year. What were they like to work with? They’re very dynamic; Inez and Vinoodh are among the hardest-working people I know. They have a very harmonious and highly organized situation with their small team of specialized people with whom they’ve worked for a long time. They take the editing studio with them—they actually edit while they are on set. By the time they come home, they’re probably two-thirds of the way finished. They are always finding new technologies, new cameras, new techniques that will help them continue their explorations. p a t r i c k m c m u llan . c o m ( 4 ) ; B F A N YC . COM ( 2 ) ; all o t h e r s c o u r t e s y

Kate Upton Social Media Award

Social Light

Has any top mod navigated the Internet better than Kate Upton? Famous to her millions of followers even before she became a household name in the fashion world, this 22-year-old stunner has mastered the metrics of online superstardom in a way that feels both authentic and aspirational. Take notes! BY EDDIE ROCHE FA S H I O N W E E K D A I L Y. C O M

Social media has been instrumental in your career. It’s a new way for people to have a voice, especially models. Before, it was difficult to be able to know a model—we were interpreted only by what we looked like on a piece of paper, almost like judging a book by its cover. What was your first social media experience? MySpace, back in junior high. Do you still have the account? No! I was only on it for a few months. What was your first AIM screen name? KTCoolness. My horse’s name was Coolio—it’s not that I thought I was cool. And when did you notice your Twitter account was really growing? My first year in Sports Illustrated. I signed on in December and the issue came out in February. I went from 300 followers to 5,000. How did you feel? The more followers you have, the more the pressure is on! What is your sharing strategy? I don’t consider myself one of those people who is always on social media, but I use it in the right way. I can clear up a bad rumor or give my opinion. It’s a piece of my life, rather than just updates throughout the day. Is there a downside to sharing? Being unable to enjoy your life because you’re always on it is the bad part of social media. I always used to say that people who are posting too many pictures on Facebook aren’t actually having a good time at the party. You first became famous on Twitter. What inspired you to join? Someone on a Sports Illustrated shoot told me I should join because it’s a cool way to share your opinion. The nicest thing about having social media on your phone is you can do it wherever you are. Do you agonize over what you’ve put out there? All the time! People are judgmental, especially when they’re behind a computer. I immediately overthink things. My funniest tweets don’t get to be shared with the world because of that! But I’m not good at planned Tweets. I’m more spontaneous. Thoughts on celebrities who pay professionals to handle their social media? It’s not authentic or interesting, and you can tell. How’s your spelling? Terrible! Have you deleted posts because of that? I don’t think I’ve ever taken anything down because of spelling errors—I just let those flow. But it sucks when you want people to enjoy your photos and instead, they’re criticizing your punctuation. Do you study your followers? No! It seems like a huge commitment to see who follows you. Have you ever been surprised by your celebrity fans? [Laughs] Does the President follow me? I doubt it! I’m always surprised that anybody follows me. I still think it’s cool. Who do you follow? I really only follow friends, but that said, Betches on Instagram makes me laugh. They put up the funniest e-cards. There’s been a big shift from Twitter to Instagram… I just got on Instagram this year. I was holding out because I like Twitter and didn’t fully understand Instagram. I thought it was just for showing pictures of food, and I don’t post pictures of food. But I ended up getting on it, and it’s so much better. You don’t have to think about what you’re going to say. You can just put an emoji and a cool photo. You also never have to worry about wearing makeup, because you can use filters. Very good point! Do you read the comments? Not really. I learned at the very beginning to stop reading them. It’s sad, because I miss the positive things. Will Snapchat be the next big thing? I hope not. Snapchat is so impersonal and confusing to me. I don’t understand it. Why not have a conversation with someone? Why send a two-second picture? I’m also not a selfie person. What’s your gripe with selfies? I don’t see the point. I’ll take a selfie if I’m traveling by myself and nobody’s there to take the photo for me, but other than that, I don’t get it. Any predictions for the next social media obsession? I’m always a year late to everything. I’m not the person to ask about what the next big thing is. Do you Skype? All the time. It’s how I talk to my friends and family.

Any tips for social media success? I don’t think that Twitter rants and retweeting mean things do any good. That’s not what social media is about. It’s a platform to show people who you are and what you’re about, it’s not about causing a fight. You’ve done so much since we first met. Do you consider yourself a model or an actress these days? I enjoy acting and think it’s fun. I’m still in the beginning stage, which is always exciting. That’s my main focus right now, but I still love modeling and I’m still a part of it. Technically, people hire me for “me” these days. So maybe I’m more of a personality actress. What do you mean? Once you reach a certain point in your career, modeling is fitting a mold. When you are a personality, you are that mold. Are you auditioning? All the time! Putting yourself in a small room and pretending there is an atmosphere around you is nerve-racking, but I like it. Do you really get nervous? Yes, but nerves are good! That means you like something.

Any acting roles coming up? Nothing I can really talk about. That’s the other hard thing about social media these days. Everybody has you locked down. You can’t say anything! You’ve had a lot of major covers since we last talked. Vogue and Vanity Fair stand out. What’s been your favorite? My first American Vogue cover. I’m American and that’s the Vogue I always read. It meant a lot to me. I got to work with Mario Testino and Tonne Goodman, who is one of the most amazing stylists. That atmosphere on set is something I will never forget. It was so fun. The final results don’t mean that much to me—it’s all about the experience. inez + vinooDh for v

Kevin o’malley Publisher of the year

elle of a guy

In the perpetual race for ad pages, ELLE publisher, chief revenue officer, and SVP Kevin O’Malley leads the pack. Shortly after closing the heftiest issue in Hearst history, with pages up a whopping five percent, the Esquire alum took a breather to reflect on his immersion in the women’s market after eight years in men’s, why tech is his top priority, and what he’s like as a boss. 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

Why did you take this job at ELLE three years ago? I knew it was a very well-respected global brand, and from the outside looking in, I’d always liked its energy and vibrancy. I was on the menswear side for eight years at Esquire. When Hearst purchased ELLE from Hachette, senior management asked to speak with me about a new opportunity. I had no idea what it would be. They asked me to move over to ELLE, and I said, “Well, I’m very flattered, but you’re crazy! You probably should get one of the women’s magazine publishers to do that.” But they wanted me. Was there a major learning curve, swapping a men’s book for a women’s title? A range of clients do both men’s and women’s, whether it’s Armani, Prada, or Estée Lauder. But the beauty industry is just exponentially bigger than the men’s fragrance and grooming industry. A core reason they had asked me to move over was that I had a depth of knowledge of the luxury industry. Also, assimilating ELLE into Hearst’s culture was very important. Did you have any reservations about the new gig? I was a little hesitant, because I enjoyed Esquire so much. I had a great relationship with its very dynamic editor-in-chief, David Granger. The clincher was meeting Robbie Myers; I’d never met her before. We had a secret lunch at Robbie’s favorite restaurant. Which is...? Well, that’s secret! I’m sure someone will figure out where it was. About five minutes into the lunch, I knew I was going to take the opportunity. Robbie has full command of ELLE’s essence, voice, and DNA. I’d done my homework, reading three or four issues cover to cover. I was very pleasantly surprised by ELLE’s intelligence and smartness. Whether it’s a beauty piece or a relationship psychology feature, it’s such gender-neutral, non-cliché, interesting writing. I got such an immediate sense of Robbie’s great range. That’s very important, as a magazine and as a person. Robbie is a naturally curious person, and that’s reflected in the magazine. Once you accepted the gig, what was your plan? First, I had to listen and learn through immersion. ELLE was not a brand that needed to be fixed, in any way; it was flourishing. It was the crown jewel in the Hachette portfolio, and the core reason Hearst wanted to purchase it. I’m a pretty intuitive marketer, so I had the skill set, but I didn’t pretend I knew the women’s market. Did you have an ELLE boot camp of sorts? I realized I knew a lot more than I’d given myself credit for! I know quite a bit about accessories, because I’ve been a big fan of women’s shoes. No fetish here! I’ve been purchasing shoes for my wife for years. I went to the first round of shows with Robbie three months after joining ELLE. I listened to the team talk about the shows and trends. I started playing a game with Robbie after shows— I’d say something like, “So, Robbie, I noticed this, is that…?” She was kind enough to let me test myself, and so were editors like Anne Slowey and Joann Pailey. How does the hommes circuit compare? Men on the runway is just not that exciting; it’s pretty straightforward. Menswear is glacial—nothing of note happens from season to season. It’s all, “The lapel gorge has dropped. The shoulder has gotten a little softer; there’s not as much rope. The shirt’s placket has been narrowed.” It’s all incredibly detailed and nuanced. I can look at a men’s jacket and tell you whether it was Hugo Boss, Armani, or Zegna, just by looking at its silhouette. That takes years to learn! At women’s shows, there’s short, long, color layering—the trends hit you over the head.

How did ELLE acclimate from Hachette to Hearst? The culture at ELLE back at Hachette had a very entrepreneurial spirit, and I loved that. It was a scrappy, resourceful spirit that always resonates with me. That’s one of the reasons David Granger and I worked so well together: We’re both such “we’ve got to figure this out” sort of people and managers. I just tried to build and amplify that, and add smart people. I made some management changes, but I didn’t do a full, clean-house type of thing. It wasn’t necessary. What kind of boss are you? I give as much direction as possible and am a very detailed person, but once I think somebody’s got it, I’m like, “Do it. Own it. You told me you were going to own it, so I expect you to own it.” People really feel like they have to challenge themselves here. We are the fourth-largest ad value brand in the U.S.—People, InStyle, Vogue, ELLE. We’re a machine. The machine is a beast, and the beast needs to be fed with ideas, ambition, and natural curiosity. What’s the biggest challenge? Finding growth in a mature brand that’s already at a high value. I’m very proud that the ELLE staff has found a way to do that. We’ve had a phenomenal growth in my first three years here. Let’s talk numbers. For two consecutive years, we’ve published ELLE’s largest issues—this year was the largest issue ever published by this company in 127 years with our September issue. That’s not easy to do with a mature property! ELLE has always been a really progressive multichannel brand, and we’ve continued to drive that. We’re also sitting at a new high for ELLE.com—nearly 12 million uniques. That’s a big base for a magazine website, and we’re leveraging it. Our ad base has responded to the site’s success, and ELLE.com is a significant part of our overall topline revenue. What were you proudest of during your time at Esquire? For the magazine’s 75th anniversary, David Granger and I did the first-ever cover to use e-ink technology, which now powers basically every Kindle and e-reader. Now it looks archaic, but that was as far as technology had come in 2008, and we used it. Do your client meetings these days feel different than when you were at Esquire? Very often, I’m in front of the same clients, especially in Europe. I’m still traveling a lot to London, Milan, Paris, though I don’t travel to Florence anymore since it’s sort of a men’s hub. What’s the toughest part of your gig? My biggest challenge is trying not be an expert in any one field, and instead to be conversant as a marketer. I have to know different industries, brands, and competitive set; I think most publishers would say that. In New York, I could have meetings with Estée Lauder and Gucci fashion, then I’m over to see Saks. In San Francisco, it could be Amazon, Banana Republic, visiting a venture capital firm, then going down to Los Angeles to meet with Lexus and Guess. Lexus couldn’t care less about the fact that I compete so aggressively with InStyle and Vogue; that’s not their concern. Their concern is, do you know how much market share BMW and Audi took from us last year? How do you stay on top of so many different fields? Do your homework. Really understand all those industries! I do a lot of Google, a lot of Wiki, a lot of working with my very, very smart and ambitious assistant to help me find all this information. She helps me distill it, putting it all into packets of sorts. How do you find the time to do your homework? I never watch movies on planes. I’m always reading background information on an industry, brand, or new technology. Coming back from Europe a few trips ago, I actually watched a movie. You know what? It was really fun.

kevin’s Fan Club “I’ve had the great fortune to work with Kevin. I can say in no uncertain terms that he’s a gifted publisher and marketer, a fantastic leader and partner, and a wonderful human being. More than that, he is a kind soul.”— Robbie Myers, Editor-in-Chief, ELLE

“Kevin’s undeniable creativity, contagious enthusiasm, and ability to understand our business needs make a powerful and effective combination that is hard to resist.”—Wanda Gierhart, SVP, CMO, Neiman Marcus Group

“Kevin is one of the most sincere, passionate executives I’ve worked with over the years. His passion, dedication, and enthusiasm for ELLE transfers seamlessly when working with his clients.”—Wendy Kahn, CEO, Valentino USA B FA N YC . C O M ( 3 )

humberto leon & carol lim

fashion advertising campaign of the year, KENZO

Masters of the Message Since they took over as creative directors of Kenzo in 2011, Humberto Leon and Carol Lim have infused the brand with a signature sense of cool that has everyone taking notice. The duo, who founded Opening Ceremony in 2002, has always been ahead of the fashion pack when it comes to creating new ideas. The decision to collaborate with the art trio behind Toilet Paper magazine is just the kind of out-of-the-box thinking that creates indelible, incredible images. BY PAIGE REDDINGER FA S H I O N W E E K D A I L Y. C O M

When did you first start collaborating with Maurizio Cattelan, Pierpaolo Ferrari, and Micol Talso, the trio behind Toilet Paper? Carol Lim: Fall/Winter 2014 is our third campaign together, so it’s nearly two years already! Brian Phillips of Black Frame introduced us to them at the beginning. Humberto and I always loved Maurizio’s work as an artist, so it was sort of love at first meeting. We started our collaboration with the Spring/ Summer 2013 campaign, which featured Rinko Kikuchi and Sean O’Pry. Humberto Leon: At the time Toilet Paper hadn’t really done anything in the fashion space, so this was something that felt really new. We love culture, and we love things outside of fashion. I think that’s just how we work. What’s it like working with them? Carol: It’s the epitome of the word ‘collaboration.’ We all toss out ideas, and it becomes clear when we talk what is really feeling right. Toilet Paper isn’t afraid to present ideas that may not seem obvious. They respond to our collections with a couple of directions, which are based on our inspirations. Humberto: They do a test shoot to really exemplify the idea of what they want to do, so they have a moment with the product to be able to play around. We really respect their work, and we both want it to be the best for both of us. In knowing their art and understanding what it represents, we wanted to make sure that what they did for us really stood for them. So we went to places where most fashion brands don’t go. How do you present your ideas to them? Humberto: We talk about the intentions, what we spoke to David [Lynch] about, and all the inspirations that go into the collection. They digest the story that we’re telling. What you see in the collection is really one part of the story. I always look at the advertising as being the next layer. Carol: They see our shows and they can also read our minds. How much time do you have to actually spend thinking about the direction and creation of the campaign? Carol: We are all super fast decision makers. We tend not to second-guess ourselves. Humberto: I think we know the pace that we’re working in and we really trust our first instincts. It’s something that I always make sure to remember, is trusting that first instinct. How soon do you think about the campaign after the collection is created? Carol: After we’ve done the collection and shown it on the runway, and had a minute to reflect on it, it begins. But it’s also happened in different ways. Sometimes we consider the campaign before we present the collection. Every time is new. How much post-production work is done? Humberto: Everything is pretty much shot on set, including the fish from the Spring campaign. The fish was made, and Devon Aoki was really sitting on the fish. They’re shot in real life. On the first campaign we had real live horses jumping. We had these monster pushpins made once that were the size of a person. The Fall collection was inspired by David Lynch films. Do the campaigns take inspiration from any film in particular? Carol: It’s more the world of David Lynch and what we have interpreted looking through his lens. Humberto: We were designing it as if we were in his mind. What was he like to work with when he created your runway set? Carol: David is an icon to us. When he shared his drawings for the set for our show, we saw how seriously and personally he took our invitation. Humberto: He was amazing. Growing up knowing and loving everything that he’s done, it was really exciting to be able to sit down and tell him about this crazy idea we had. I asked him to do the music for the show and he came back

with all these ideas. I wanted him to do the runway setting, and he had a sculpture in mind and how he envisioned the layout of the show. He really embraced the entire thing and it was a real honor to work with him. What is your favorite David Lynch film? Carol: There are too many to name a favorite: The Elephant Man, Lost Highway, Mulholland Drive, Blue Velvet, Twin Peaks, and many, many more. Humberto: Everything from Eraserhead to Twin Peaks, Mulholland Drive, there’s so many. Are the “higher-ups” ever worried that the campaigns are too high concept? Carol: Not for even a second. Humberto: We have a great rapport with Pierre-Yves [Roussel], who is the person we really interact with day-to-day at Kenzo. He always tells us, “Do the things that you do that are so unlike any of the things that any of our brands do or anything that’s out there.” How do you know when a campaign is effective? Humberto: If it feels memorable to me, then that’s a sign that it’s effective. If we can create something and look at each other and say, “Whoa, that’s something that is not out there, and it’s amazing and beautiful,” then we personally think that it’s a success. And of course, it’s exciting when people talk about it and say, “Wow, that thing you did is really cool and different.” We try to not conform. That’s our signature. Carol: Campaigns change every season, so you can constantly try new things. When the images you create stick around for longer than a season and start to infiltrate visual culture in a broader way by influencing other people, that is really meaningful. Who picks the models? Which one of you cares more about that process? Humberto: We both do. We also know what we’re both good at. We always try to make sure that we give the strongest voice to the things we are both better at. It’s an ongoing conversation. Carol: We are very much about the character and the mood of the campaign and consider that extensively. How do you pick which clothes you are going to feature? Do you bring the full collection on set? Carol: We know the key looks from our shows we want to shoot that tell the story of the season. Humberto: We look at what will make the image really interesting and exciting and what works. Some of the shots we’ve seen feature very little clothing. Why? Humberto: It really depends. There might be a case where we really want to focus on a shoe, so you might not see a full outfit or there might be a case where it is just a mood. So if we decide to do a four-page layout in a magazine, I think it’s okay that one of the images really just gives you the essence of what we’re talking about. But we also know that we are a ready-to-wear brand, so it’s never just for the sake of a mood. Carol: The campaign is a story in its entirety, so when you see an image you are seeing one part of a bigger story. Do you use the same makeup artists and hairstylists for each campaign? Carol: We like ongoing collaborations. Anthony Turner and Aaron de Mey have been working with us on the campaigns recently. How do you decide which images will run in which magazine? Carol: That’s a fun process. We match up images based on the titles and what is the right fit. Humberto: What we end up doing is that we look at the demographic of the magazine and we think about which of our images would really resonate with that demographic or what would challenge that demographic. What is the Portrait: roe ethridge, courtesy Kenzo

norm in those magazines and how do we offer something that’s different? How often, if ever, do you two disagree about artistic direction? Carol: We are always in sync. Humberto: Never. We also really trust each other. There are no egos between us, and that’s the most important part. You design two labels and run a slew of OC stores. Do you ever sleep? Carol: We are really good at balancing work and home. We have amazing teams at OC and Kenzo, we couldn’t do it without them, and our families are the most supportive, nurturing families in the world. We are really lucky. You didn’t create campaigns for OC. So was there a learning curve when doing them for Kenzo? Carol: We are about to launch our first campaign for Opening Ceremony with Collier Schorr. We are so excited. But because doing campaigns is new for us, it is exciting to explore the possibilities and not be limited to what has already been done. Humberto: We learned that we can push things and really reach an audience. There are a lot of ads out there. I feel excited that we’ve been able to do something that stands out to us and effectively communicates the way we wanted it to. What other ad campaigns (past or present) do you admire from other brands? Humberto: I love the old Esprit campaigns. I love the Benetton ads from the late ’80s, early ’90s. I think about campaigns that were memorable, like the Calvin Klein images from the late ’90s, the Avedon images for Versace are stunning, and the early Bruce Weber Abercrombie & Fitch images. I like something that you really do remember, like the old Gap ads that were kind of controversial at the time. I think that we’re in a tendency now to flip, flip, flip, flip, flip and go through information at a rapid-speed pace the way the Internet works. I think Carol and I are from a generation when you actually admired things and stopped to look at a billboard and say, “Wow, that’s really beautiful.” It’s important to make ads that make people stop. Carol: Guy Bourdin’s for Charles Jourdan. The iconic ’80s Guess, Esprit, and Benetton campaigns. Old Gap ads. Irving Penn Clinique ads. Avedon for Versace. Fiorucci. Ads that make a lasting impression. Where is the craziest place you’ve ever seen one of the ads run? Carol: On tourist buses in Paris—they are enormous! Humberto: We’ve seen them on subways, like wrapping an entire subway train, which is super interesting and weird. Where would you love to see an ad run (someplace unconventional)? Humberto: I think it would be cool to see one of our ads on an airplane. Carol: On the Doges’ Palace in Venice. Why do you think the Kenzo ads are so memorable? Humberto: I think they tap into your imagination and present life in a way that you don’t expect. There’s something beautifully unusual about them. FA S H I O N W E E K D A I L Y. C O M

toilet paper magazine Maurizio Cattelan, Pierpaolo Ferrari, and Micol Talso, the avant-garde art trio behind Toilet Paper magazine, filled us in, collectively, on how they realized the vision for Kenzo’s Fall 2014 ad campaign alongside Humberto Leon and Carol Lim. How did Toilet Paper first come about? We were questioning the meaning of life, and we thought the most likely answer was “toilet paper.” What do you love about working with Humberto and Carol? It is not so common to find people who like [the TP sensibility] to the point they use it so widely. Now they know how to play the TP game better than us! How would you describe the artistic eye of Toilet Paper? TP images are made of simple images. It’s something you can easily describe during a dinner with friends, but without being able to completely explain that uncanny feeling that it provokes at the level of your stomach. The same applies to the campaign. Why do you think your style works well with the Kenzo message? We both are colorful

and do not take ourselves too seriously. How did you come up with your ideas for the campaign? The hardest side of working with us is that you’ll never know what to expect until you’re shooting. That’s the moment where great ideas spring like frogs in a pond, unpredictable, and not always beautiful. Unless you kiss them. How did you translate David Lynch into the images? It would be mission impossible to translate Mr. Lynch. We proceeded in a parallel way, getting inspired by the collection itself. We must admit we don’t reflect a lot during shoots. In the end, the brainstorming continues independently from where it started, as a Chinese whisper. b fa n yc . c o m

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Ying chu Glamour, Beauty Innovator of the Year

Presented by Maybelline New York

Glam Girl

Since arriving at the glossy last January, executive beauty director Ying Chu has pumped up Glamour’s coverage of all things coif and pout-related. To wit: the launch of Lipstick.com, the mag’s new beauty vertical, the debut of Glam Belleza Latina, and more gorgeous print pages in Glamour proper. 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

So, what’s happening in the beauty department at Glamour? We’re taking a slightly different approach to editing. I want a reader to look at the magazine and think every single woman in the magazine is either someone she wants to look like, or someone she wants to be friends with. Or both! Where the magazine is now and where it’s going just feels so fresh, modern, and appealing to American women. How has creative director Paul Ritter influenced those changes? He’s great at making things look graphic yet feminine. He’s helped define the visual voice of the magazine, elevating the look overall. Paul understands Glamour’s friendliness and appeal but also knows how to add a high-fashion perspective. How about the mag’s newish fashion director, Jillian Davison? She’s great at building the beauty message into a story. Jill styled Doutzen [Kroes] for a beauty story in our September issue, shot by Patrick Demarchelier. Few stylists are really good at working with the hair stylist, makeup artist, and photographer to nail a great picture. Most focus on fashion and don’t dive into the beauty world; Jill can do both! Details about that Doutzen shoot, please! She was seven months pregnant when we shot her. Her skin looked incredible; we didn’t want to put too much on her! Rose-Marie Swift, who did the makeup, was quite natural in her approach. We’d been seeing a lot of cotton candy–textured hair on the runways, including Derek Lam’s, and Orlando Pita did this kind of light, fluffy texture with an exaggerated shape. She has a lot of hair, so he didn’t use any extensions. How does your vision for beauty in Glamour translate to the kind of pros featured? We’re just elevating the talent and the artists we’re using. We worked with Cedric Buchet, a new photographer for us, for our Joan Smalls shoot in May, for example. My goal is to use the Tom Pecheuxs and the Orlando Pitas and the Pat McGraths of the world. What inspired Lipstick.com! We’ve talked about the idea pretty much since my first day, as Condé Nast has owned Lipstick.com for some time. When our digital director, Mike Hofman, and I found out about the name, I said, “Yes, we need it immediately!” Did you have to duke it out with other Condé titles? We didn’t have to fight for it, but we did stake our claim. We said, “We’re going to do great things with it! We’ll launch it right away…so please give it to us.” Glamour.com was so successful already. We could see how long readers were spending on our beauty content and how many beauty posts they were reading. Who’s heading up Lipstick.com? I oversee anything beauty-content related for the brand, and on a day-to-day basis, Lindsey Unterberger is Lipstick.com’s executive editor. She’s been with Glamour for five years, and she’d launched other verticals on the site. She’s really enthusiastic about the topic, and she has so much digital launch knowhow. I knew she’d be really successful at it. You want people on your team who complement you, and I definitely feel that Lindsey and I have quite different skill sets. What was the concept, content-wise, for Lipstick.com? We put up eight to 10 beauty posts a day. A lot are quick, celebrity-driven posts, which our readers love, plus longer features and big, beautiful imagery. What other beauty-centric content are you working on digitally? Cindi [Leive] and Condé Nast made such an early investment in growing Glamour digitally. Clearly, it’s paid off, based on our traffic. We’ve shot video Beauty Diaries with Olivia Munn, which will be out this month. On Glamour’s YouTube channel, Theodore Leaf’s Elevator Makeover series continues to be

extremely popular, as well as Kandee Johnson’s Beauty ReCovered series. Why is it important to showcase a range of beauty brands? We want a high-low mix in the magazine because that’s the way women shop now. When products are under $10, it really allows the beauty world to play and experiment. If you don’t wear blue eyeliner every day, you won’t want to spend $35 dollars on one just to experiment with. Brands like Maybelline have done a great job modernizing their products—the quality is fantastic. Bringing an incredible artist like Yadim to translate a fashion message to the mass market is great. Watching him work with Maybelline Eye Studio Color Tattoo is quite inspiring—he shows us how versatile products can be. Do you hope to lure in more readers to Glamour’s site via Lipstick.com? After we launched Lipstick, there was a 40 percent growth in the beauty audience on Glamour.com. Why was 2014 the right time to seriously expand Glamour’s online beauty presence? Glamour has always done such a terrific job at doing incredibly deep, thoughtful service content and how-to’s. That’s at the core of Glamour’s DNA, and is part of the reason I joined the magazine, actually! But that’s not what readers are coming to print magazines solely for anymore. A lot of readers are going online for beauty content—and instead of trying to fight that, we wanted to put it online! There’s still lots of beauty content and how-to’s in the magazine, which are still incredibly successful, but by having this kind of content online as well, it makes things interactive. You’re also very involved in Glam Belleza Latina, right? When I started this job, Glam Belleza Latina was on its second issue. We were able to bring in Patricia Reynoso as editor. The day I met her 10 years ago, I remember her saying, “I really want to do a Latina beauty book.” Why make a beauty mag specifically for the Latina Glamour reader? The Latina shopper, basically, is willing to spend any amount of time and money on looking appealing. Very early, before Patricia got here, we had focus groups, and there was a page that said something like, “Easy ways to get a blowout”. One of the Latina women in the focus group was like, “Easy? I don’t need it to be easy. I just need it to be good. I’ll spend three hours on a blowout if it’s going to get me results!” Latina women may think, “I’ll do 25 steps if it makes me look like, say, Sofia Vergara!” Their investment in beauty is different. How do you and Patricia work together, exactly? She assigns the stories and is responsible for editing the products; we top edit the book together. We share a beauty closet, and use a lot of the same photographers for Glamour and Glam Belleza Latina. Ultimately it’s her book, and I help her shape it. Cindi oversees it as well. Is Glam Belleza Latina meant to be a supplement of sorts to Glamour proper? The Glam Belleza Latina reader is still reading Glamour, so we don’t want to overlap on content—we just want to specialize it for her. That’s why we’ve chosen to make it only beauty and have a slightly higher-end mix. Could you see Glam Belleza Latina ushering in other specialty beauty titles? Absolutely! We’ve had that conversation already very casually. Leonard Lauder actually already told Cindi that she should do a magazine for Asian women! Lastly, what’s your favorite lipstick right now? When we were on the Joan Smalls shoot for the May issue, Tom [Pecheux] got me really hooked on this Estée Lauder orange-y red, Impassioned. I’m also loving Nars’ Audacious lipstick—the texture is incredible. There are 40 colors; I’d probably wear 39 of them. And I’ve been wearing Maybelline New York Baby Lips Dr. Rescue in Just Peachy—it neutralizes the pink in my lips so color goes on true. I also love it alone for a mod vibe.

CHIC Archives

Marie Claire~Ology

For 20 years, the U.S. version of Marie Claire has been filling its pages with a solid mix of fashion editorials and real world features. So while the glossy blows out their candles, join your Daily on taking a look back at the good times from the past two decades. BY DENA SILVER

L’Histoire

1937 Founded in Paris by Jean Prouvost and Marcelle Auclair, the première issue of Marie Claire debuts as a weekly. 1954 The frequency changes to monthly.

with Claudia Schiffer gracing the first cover. Bonnie Fuller was the glossy’s inaugural editorin-chief.

September 1988 A U.K. version is introduced.

September 1995 The American edition of Marie Claire goes monthly; Linda Evangelista appears on the cover.

August 1994 The magazine arrives stateside as a quarterly,

June 1996 Glenda Bailey, editor of Marie Claire U.K.,

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

arrives in New York and takes over the EIC job from Fuller. After five years, she moves to Harper’s Bazaar. August 1996 Jennifer Aniston is the first celebrity to appear on a cover. June 1997 Marie Claire launches its first website.

November 1999 Courtney Love is the first musician to cover the mag. July 2001 Redbook’s Lesley Jane Seymour is named editor-in-chief of Marie Claire. November 2004 The glossy celebrates its 10th anniversary issue with Jessica Simpson on the cover.

When were you first executive editor and introduced to the Marie when I was interviewing Claire brand? to be editor-in-chief here, Anne: I had first I had to fly to Paris to interviewed to be a meet the French for my senior editor at Marie final OK. On the flight I Claire when Bonnie Fuller was reading through old was the editor. I always issues of the magazine identified with that early and I came across an iteration of Marie Claire; article with tips on how to a fashion magazine ace a big interview in the for women who were @Work section. It was interested in the world such a full circle moment. at large. And did Joanna Coles Nancy: I’ve known offer up any words of Michael Clinton, the wisdom before you president, marketing, took on the editor-inand publishing director chief job? at Hearst, for a very Anne: She actually took long time, and we had me out to lunch before lunch shortly before I left I took the job and we Condé Nast in 2009. He were very much in touch asked me which Hearst when I got the offer. magazine I would want to She’s always been a be the publisher of and I great mentor to me; very said Marie Claire. A week encouraging to take on later he called to tell me more, do more, and be that this job was open; more ambitious. shortly after I was sitting What excites you at my desk here closing about the future of our March issue. the publishing side of With Anne Fulenwider, editor-in-chief, It seems like fate that this mag? and Nancy Berger Cardone, vice president, you both ended up here! Nancy: We like publisher, and chief revenue officer. Anne: It really feels like advertising pages and that! Plus, Nancy and I we want to have a lot of PHOTOGRAPHY BY GIORGIO NIRO have worked together at them, but what we’re three different places. doing is bigger than that. Where were you 20 years ago? There’s a renewed interest in creating new experiences with Nancy: I was the advertising manager at Vanity Fair, but the magazine, like our denim issue this past August. It was a was dreaming about becoming a publisher. great way to reveal a fantastic cover, but also to give a first Anne: I was just graduating college. impression of the visual theme of that issue. The first-ever Marie Claire issue was a weekly that was What has been a monumental advertising moment for released every Wednesday. What you during your Marie Claire time? do you do on Wednesdays? Nancy: When Apple launched the iPad Trivia Time With MC Nancy: Anne and I actually have mini, they actually chose to launch Most Covers: Drew Barrymore’s got weekly meetings every Wednesday, their ads with Marie Claire in January seven covers under her belt, although although most of our best ideas 2012 as the exclusive women’s lifestyle Angelina Jolie, with six, is a close come from plane rides. magazine. And hopefully 20 years from second. Anne: It probably has to do with now we’ll be talking about what else Oscar Winners: 17 have graced Marie the mix of altitude, free time, we’re launching with Apple. Claire covers. and champagne! The idea for the If you could get Marie Claire Far-Flung Factor: A Marie Claire Branché magazine actually came to something for her birthday, what team traveled all the way to Bhutan us at 30,000 feet. would it be? for December 2007’s “Spirited Away” story. Anne, how did you use your Anne: Since she’s only 20 years old and Sister, Sister, Sister: All of the Olsen previous executive editor gig here she can’t drink in the U.S. yet, I might sisters—Mary-Kate, Ashley, and to prepare for the lead job? get her a fake ID! Elizabeth—have appeared on the Anne: We launched the Marie Nancy: And I’d get her a fabulous pair cover, albeit separately! Claire @Work section while I was of shoes.

ANNIVERSARY MOMENT!

April 2006 Joanna Coles arrives as the latest EIC. November 2011 Marie Claire @Work debuts as a 72-page supplement on the working girl’s guide to getting ahead. It features Katie Holmes on the cover. December 2009 Nancy Berger Cardone is named VP, publisher, and chief revenue

officer at the magazine. She was previously the VP and publisher at Gourmet. 2009: Running In Heels, a reality TV show based on three Marie Claire interns hits the airwaves via the Style Network.

September 2012 Coles decamps to take the lead at Cosmopolitan, and Anne Fulenwider joins the team as their latest EIC. This is a reunion of sorts for her, as she was the executive editor at Marie Claire for two years before heading to Condé Nast in 2011 for a nine-month stint as the editor-in-chief at Brides.

FORMER EDITRIXES WEIGH IN! “Having studied French since grade school and studied in France during college, I was absolutely a Francophile. When Hearst asked me to edit Marie Claire I thought I had died and gone to heaven. Using the power of print and advocacy journalism, I was able to change the way the world dealt with everything from domestic violence to starvation in Africa.” – Lesley Jane Seymour, editor-in-chief, More “During my time at Marie Claire, I like to think I gave it a sense of humor, a sense of justice, and a sense of style. Today, it’s the magazine for women who work and that works beautifully for women.” – Glenda Bailey, editor-in-chief, Harper’s Bazaar “Our challenge was to create a Marie Claire magazine that featured the mix of designer and affordable fashion, as well as coverage of the serious women’s issues that Marie Claire was known for. It has proven itself to be a brand that has connected powerfully with women. The proof is in its success.”– Bonnie Fuller, editor-inchief, Hollywoodlife.com “Marie Claire was such a fabulous part of my life and I got so lucky with hires; Lucy Kaylin, Joyce Chang, and of course Anne Fulenwider. And how could I forget Running in Heels? We did the deal with no real expectation it would actually get made. We were gobsmacked when the show ended up airing in 16 countries and when we came across a flock of fans in Marrakech. Though no one was a more devoted viewer than Alber Elbaz!” – Joanna Coles, editor-in-chief, Cosmopolitan

March 2014 Introducing Branché, a free pop-up mag from the editors that features insider info on fashion, beauty, and more. September 2014 The largest issue in the history of Marie Claire makes its debut, ringing in at 454 pages with 269 ad pages.

B F A N Y C . C O M ( 2 ) ; G E T T Y I M A G E S ( 2 ) ; A L L O T HER S C O U R T E S Y

chic Expert

Ask our NEWSSTAND Guy!

ABC numbers aside, how are your glossies really faring? As always, our trusty newsstand expert Manish Golchha weighs in from behind the counter of 37th Street’s premiere fashion district resource, Magazine Café. What’s selling? What’s flopping? Answers ahead. BY EDDIE ROCHE PHOTOGRAPHY BY STEFANIA CURTO

faded a little bit. There was a craze with the first issue. They’ve done a phenomenal job—all the issues also seem to be getting bigger and bigger! Does anybody ever come in looking for the September issues to use as a weapon? Not so far! Maybe they could use them to work out. A lot of unknown faces are appearing on the covers. We call them models. How are they selling? Fine. Anything that is controversial or celebrity-oriented still seems to sell well. But I like models. Do you know the girls on the cover of Vogue? I’ve seen the girl in the middle. Do you know the girl on the cover of Vanity Fair? Nope! I’ve been out of the scene. I’m buying a house! Excuse us. What covers impressed you lately? The August issue of Paris Vogue has a lot of colors and textures. I like that a lot. It’s one of our best sellers. Vogue UK and Vogue Italia also do well. The new addition has been Vogue Brazil, which has been doing very well. Let’s talk about Cosmo! Reasonable price, at $3.99. Our customers in the fashion district don’t care about the price if they’re getting a quality product. What’s your favorite Cosmo coverline this month? “You’ve Got Jail: From Grad Student to Inmate.” Who has the best paper quality? Love! If you remember, Love and Pop were released around the same time, and Love has grown leaps and bounds, but Pop is fading away a little bit. How’s Soap Opera Digest doing these days? We sell one or two copies to women who look like they spend a lot of time as couch potatoes. Who is on the cover of Industrie? A famous actress, or maybe the editor of Vogue? What are your best sellers? W has had a very good year for us. If you were an editor, who would you put on your cover? I’d start with Rihanna! She’s a good thing. We sold a ton of Lui when she was on the cover. Do you know about Lui? It’s like the French Playboy. It’s racy, but really good. Do you ever have customers who spend a little too much time looking at the dirty magazines? Yes! We also have an Internet café, and there are guys doing all kinds of crazy things. I saw one guy’s screen and he was looking for escorts. A couple of days later, the computer had a virus and wouldn’t work. But we let them have fun, as long as they don’t take their pants off. Very kind! Thoughts on Oprah’s new cover? I don’t like it. How dare you speak of Oprah like that. Why not? It’s not worthy of a September cover. It’s very average. She looks like she’s going to ballet class. How’s Lucky doing? Very well. It’s maintained its position from last year. Which magazines do you read? Fantastic Man, GQ UK…I like quality European magazines. What’s your profit? About 25 percent. Who are you wearing today? A Hugo Boss shirt, Replay jeans, and Cole Haan shoes. Fancy. Business must be good! I have no complaints!

spill it, manish!

What’s new with your business? A lot of changes are happening. The biggest story is that the secondlargest distributor in the United States filed for bankruptcy. No bueno! How does that affect you? Today, we had 120 copies of Vogue, and now we’re almost sold out, but we’re not sure when the next copies will come in. That’s a problem! If customers get frustrated, they stop coming to the newsstand! Any changes in magazines since last September? Porter came along and it has been doing well, but the response has FA S H I O N W E E K D A I L Y. C O M

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