Daily Front Row by DAILY FRONT ROW INC

September 12–13, 2015

Fashion Media Awards ROBBIE MYERS LUCY YEOMANS STEFANO TONCHI LAVERNE COX STEPHEN GAN JANE SARKIN & JESSICA DIEHL ANTHONY CENNAME

It's

FMA

time!

JANICE MIN & MERLE GINSBERG GOGA ASHKENAZI TAYLOR HILL IMRAN AMED

source: 2014 ipsos affluent survey. luxury goods= apparel + accessories/eyewe ar and watches/jewelry

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Celebrating 30 YEARS!

*Women’s fashion edit. **Than nearest competitor. †12–24 Competitive Set: Vogue, W, Vanity Fair, Glamour, People, StyleWatch, InStyle. SOURCES: GfK MRI, Fall 2014; comScore Multi-platform, June 2015; Site data, July 2015. Ipsos Mendelsohn Affluent Survey 2012; Base: Affluent Men HHI $100,000+

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SEPTEMBER 2015 ELLE'S 30TH ANNIVERSARY

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CONGRATULATIONS, ROBBIE MYERS 15 YEARS AS EDITOR-IN-CHIEF OF

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Moroccanoil celebrates its Spring/Summer 2016 New York Fashion Week collaborations with Altuzarra, Cushnie et Ochs, Delpozo, Marchesa, Monique Lhuillier and Zac Posen

THE GOOD WIFE STAR JULIANNA MARGULIES AT THE HOTEL DU CAP-EDEN-ROC, ANTIBES, FRANCE PHOTO: PATRICK DEMARCHELIER DRESS: ALTUZARRA. VINTAGE EARRINGS AND BRACELETS: KENTSHIRE. TIGHTS: FALKE

JULIANNA MARGULIES SHOT BY PATRICK DEMARCHELIER COMING IN SEPTEMBER.

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

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ON NEWSSTANDS

ONLINE

the

JAY FIELDEN’S FAVORITES!

front row

The darling of Town & Country spills on…

SNACKS: If my kids leave something in front of me, I’m liable to eat it. What I am very big on all by myself is ice cream, especially Grom gelato. TV SHOWS: I just rewatched Robert Hughes’ Shock of the New PBS series. I knew Hughes, and I miss him, so I revisit him on YouTube. This was back in 1980, when he was at his acerbically strapping best. At one point, he refers to minimalism, a “minor movement,” as the “nirvana of boredom.” We don’t have phraseologists like that anymore. BOOKS: Oh, lord, it’s easy to be pretentious on this one, so I’m warning you. I just read William Maxwell’s great, great book So Long, See You Tomorrow. He’s easily one of the top-50 great American writers of all time but hardly anyone knows it. I also just read Thomas Beller’s biography of J.D. Salinger, The Escape Artist. As Holden Caulfield would say, it really knocked me out. WINE: I wrote a piece in T&C recently about the cool 29-year-old who’s in line to inherit Petrus, and I unfortunately developed a taste for Pomerol, even though I can’t afford it. Sometimes, when I’m feeling flush, I splurge on a bottle of Château Certan de May. It’s one of those things that’s genuinely worth the price.

Brandusa Niro

Editor in Chief, CEO Toni Garrn

YOUR DAILY DOSE Anna Cleveland

HEARD!

☛ Beauties alert! Not only will the Fashion Media Awards be co-hosted by the divine Toni Garrn, but Anna Cleveland will also grace the event to present the Fashion Advertising Campaign of the Year to Vionnet’s Goga Ashkenazi. “I think Anna will come into her own as a star and break the barrier of being the daughter of a modeling icon, something that daughters of former supers of the ’70s have not yet been able to do,” says James Scully, casting director for Tom Ford, Carolina Herrera, and Stella McCartney. We agree! ☛

Nothing makes us happier than your scantily clad Instagram snaps.

Michael Carl Giovanna Battaglia

With a special award going to…whom else? Even at 53 (according to Wikipedia), Anna Dello Russo is still rocking it— and she won’t let you forget it. Consider these photos a testament to the rewards of daily swimming!

Taylor Tomasi Hill

Leandra Medine Doutzen Kroes

Deputy Editor Eddie Roche Executive Editor Ashley Baker Managing Editor Tangie Silva Fashion News Editor Paige Reddinger Senior Editor Kristen Heinzinger Reporter Sydney Sadick Art Director Teresa Platt Contributing Photographer Giorgio Niro Contributing Photo Editor Jessica Athanasiou-Piork Contributing Copy Editor Joseph Manghise Imaging Specialists Neal Clayton, George Maier Editorial Assistant Kassidy Silva

Mark Tevis Publisher

Fashion Director, Advertising Chloe Worden Advertising Sales & Special Projects Haralux, Lottie Oakley Los Angeles Gypset & Associates, Dayna Zegarelli Marketing Director Anna Lombardi Digital Director Daniel Chivu Manufacturing Operations Michael Esposito, Amy Taylor

THINGS TO DISCUSS: FASHIONETTES IN SWIMWEAR

Bee Shaffer (in blue!)

Guillaume Bruneau Creative Director

To advertise, call (212) 467-5785 Or e-mail: mark@dailyfrontrow.com GETTY IMAGES The Official Photo Agency of The Daily Front Row

The Daily Front Row is a Daily Front Row Inc. publication. Copyright 2015. 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.

MATCH THE ED TO THE ED LETTER! 1. My whole appearance screamed, “I don’t care, man!” After graduation, I needed some polish, and fast. I went professional, wearing suits, but always with a twist—one was actually lime green!

2. My Florentine friends said that Milan was a place in which to work—for the least amount of time possible—in between skiing in St. Moritz and sailing in Portofino.

3. You don’t need me to tell you how gloriously addictive [Empire] Empire] is to Empire watch, a pleasure none of us feel guilty at all about owning up to.

4. I remember thinking, [Kanye] is asking about the dress? The fabric? he’s a fashion Oh…he’s person!

5. It’s interesting that [Caitlyn] Jenner assumed the hyperfeminine look of a Holly Hollywood movie star, with long hair and an hourglass figure in a satin corset, for her first public appearance.

ON THE COVER: The Daily Front Row photo composite.

B FA N YC . C O M ( 4 ) ; F I R S T V I E W ; G E T T Y I M A G E S ( 2 ) ; PAT R I C K M C M U L L A N . C O M ; A L L OT H E R S C O U R T E S Y

Answers: 1. Lisa Arbetter; 2. Stefano Tonchi; 3. Robbie Myers; 4. Anna Wintour; 5. Linda Wells

Who Best? wore it

10 Women, 10 Men, 10 Fashion Professionals, 10 Hollywood Stars, 5 Couples, 3 Originals, and 1 new member of the Hall of Fame

VANITY FAIR reveals the best-dressed people in the world for 2015. Online now at vf.com

75th Anniversary

THE INTERNATIONAL

Best-Dressed S I N C E 1 9 40

PHOTOGRAPH BY MARIO TESTINO

CATCH-UP TIME! With André Leon Talley, whose new Rizzoli book, Oscar de la Renta: His Legendary World of Style, is out this month.

How was your summer? Total dullsville, except the one moment when Lee Daniels called me and asked me to get on his set for Empire. I am in the first episode of Season 2, and it’s fierce. Fierce. I did a lot of pointing directions to my garden experts in planting hydrangeas, and fussing about my new expensive mattress from Sleepy’s, that, well, isn’t quite working. And I was asked to do the first fashion windows at Rizzoli, which launched the store. Thoughts on Peter Copping’s house? I could move right in with the wonderful fireplace. It’s cozy in the best English style. And I loved the way he seemed so at home already, having just moved to New York. What are you working on next? Oscar de la Renta’s definitive retrospective at De Young Museum of Art. We are up to 155 ensembles, loaned from museums and private clients.

u z z B

Taylor Swift

Nicole Kidman

Sarah Jessica Parker

Shoe of The Daily Chic du chic! Stuart Weitzman’s Parka boot: Shearling-trimmed, sleek, and sophisticated, this irresistible incarnation of the iconic 5050 leads the way to winter wonderland “wow.” Available in the brand’s signature topo suede; $675, in stores and at stuartweitzman.com.

Fix

EXPRESS YOURSELF! With Elizabeth Crystal, CMO, Express Karlie Kloss

What’s new at Express? We continue to stay connected to our customer and the market to determine new opportunities. We have a brilliant design team in our New York Design Studio that consistently delivers innovative, desirable fashion that’s rooted in what’s now. You can expect to see this revealed in a big way this holiday season with the launch of Express Edition. This is an in-house design project to introduce a higher-end capsule collection. Why did you choose Karlie Kloss for the fall campaign? She was a natural choice for Express. With her social media star status and philanthropic efforts, Karlie inspires and empowers young women globally to feel confident and self-assured. And with her natural beauty and effortless style, Karlie is perfect to communicate the latest fall trends. What are the criteria when selecting top talent for campaigns today? We partner with influencers who we believe are in sync with our customer, and who complement Express and help drive new customers to the brand. Karlie Kloss follows the highly successful collaboration with Kate Upton. As part of our strategy, we’re even more focused on partnering with high-fashion influencers and continue to work with a mix of ambassadors—from key bloggers to athletes to models. Women’s must-have items for this fall are… Fall fashion is all about ’60s and ’70s influence with novelty fringe and suede, boho-inspired silhouettes, retro prints, and lace with pops of berry, ivory, and cognac hues. The “model off-duty” look also continues with casual, soft tops paired with girlfriend jeans, high-rise jeans, and knit skirts.

FRENCH CONNECTION!

With Angie Niles, author of essential new city guide Bright Lights Paris What’s the gist of the book? The book introduces you to the Paris girl from different neighborhoods, sharing where she shops, picks up pastries, and goes to relax. How did you research it? After college, I lived in Paris while interning at the Associated Merchandising Corporation buying office. It was then I started what my friends call the real “Angie’s List,” filled with all my favorite places. When the book was confirmed, I went back to live in Paris for a very grueling six weeks of additional research. As you can imagine, that was a real burden. Who contributed stories? Blake Lively, Jamie Chung, Keren Craig and Georgina Chapman, Fabrizio Moretti, and others shared a special memory or favorite place they always visit.

GETTY IMAGES (8); ALL OTHERS COURTESY

Look Here Mega-impact lashes are an eternal runway trend. Case in point: the eye-popping look at Nanette Lepore’s Fall 2015 show. The key ingredient? The Colossal Chaotic Lash Mascara from Maybelline New York. The brand’s teaser brush adds extra oomph and separates lashes to a chic disarray, resulting in an out-of-this-world lash statement. No actual chaos required!

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

MARCH 27, 2015

EXCLUSI

MY LIFE WIT E CHA RLIinside ,

E! ROA D MAP REV EAL ED

hits Fashion Police e’ ‘evolv pause as execs culture mani- cam

Jon Cryer’s nt of insane accou own Sheen’s meltd

STU DIO PROFIT REP ORT

STARS

The annual ranking of the town’s 25 most powerful tastemakers

STYLISTS Karl Lagerfeld shoots Lady Gaga and Brandon Maxwell at Coco Chanel’s Paris apartment on March 7 for The ter Hollywood Repor

PM 3/17/15 1:18

Daily DOUBLES We always thought you looked familiar!

Michael Carl

Bobby Graham

Kristen Schaal

Faran Krentcil

Jennifer Fisher

Taylor Dayne

Peter Marino Leather-loving architect

Mr. Slave

South Park regular

Mr. Brainwash

Robert Rabensteiner

Teresa Moore

Lily Aldridge

Vanity Fair hottie

Popular jeweler

Banksy buddy

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

GQ darling

Pop star

Sozzani pal

30 Rock staffer

Emerging model

Rock-star style scribe

VS Angel

B FA N YC . C O M ( 7 ) ; G E T T Y I M A G E S ( 4 ) ; A L L OT H E R S C O U R T E S Y

PHOTO: STEVEN MEISEL

takes the

GOLD Congratulations to Stefano Tonchi and the entire W team for delivering 100% Fashion and the Best September Issue of the Year. Thank you Daily Front Row for this amazing honor.

TREAT ALCOHOL RESPONSIBLY - THINK OF YOUR HEALTH - DRINK SENSIBLY Photo: Laurent Rodriguez

Imran Amed Best Digital Destination, The Business of Fashion

Lucy Yeomans International Fashion Magazine of the Year, Porter

Anthony Cenname Publisher of the Year, WSJ.

Goga Ashkenazi Best Fashion Advertising Campaign, Vionnet

Merle Ginsberg & Janice Min Best Fashion Issue of a Non-Fashion Magazine, The Hollywood Reporter

Taylor Hill Model of the Year, Social Media

And the Win ners Are …

Laverne Cox Maybelline New York Make It Happen Award

Jessica Diehl & Jane Sarkin Scoop of the Year, Vanity Fair

Stephen Gan Men’s Magazine of the Year, VMan

Stefano Tonchi Best September Issue, W

Robbie Myers Fashion Magazine of the Year, Elle

B FA N YC . C O M ( 7 ) ; F I R S T V I E W ; G E T T Y I M A G E S ( 4 ) ; PAT R I C K M C M U L L A N . C O M

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

Robbie Myers

Fashion Magazine of the Year, ELLE

FEMALE FIRST

She’s a seasoned editrix with a nose for news. Robbie Myers’ 15 years at the helm of Elle is the stuff that dreams are made of. As the magazine toasts its 30th anniversary, Myers explains how its mission is more relevant than ever. BY ASHLEY BAKER

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

Of all the subjects that Elle covers, what are your particular passions? Fashion. We show it, but we’re also very interested in the people who make the culture. When the magazine was launched in Paris in 1945, the founder said that the mission was to open women’s appetites. That’s a great mission, and a pretty broad mandate. We’ve tried to carry it through into 2000, 2010, 2015, and going forward. What are your favorite kinds of stories to edit? I love the visual stories. But one of the really good things about Elle is that we use really good writers. With every assignment, we try to put a good writer and a good reporter on a good topic. I hope that we succeed more than we fail. I love assigning and editing Zeitgeist pieces about where women are in the culture, and what’s going on in the culture. We have a real commitment to covering politics, women’s health, and certainly sexual politics. We assume a certain amount of cultural literacy and erudition on the part of our readers, so we don’t feel like we need to explain all the issues, but good writing and good reporting elevates the conversation. I was talking to a very senior person in a very big company, and I asked her, generally, what was going on in the digital world. She was telling me about the technological things they were working on, and then she said, “But, you know, women in San Francisco are really talking about egg freezing and managing their fertility.” I’m like, “Really! We’ve only been covering that for 10 years.” Meaning that women’s media often gets put to the side. We do groundbreaking reporting around things that are important to women, like the science around fertility, because that’s what women are talking about, and what they care about. Music has been core to you in terms of personal interests, and it’s a major pillar and platform for the magazine as well. How have you seen that evolve over your tenure at Elle? Elle has always been about where pop culture and fashion intersect. Female musicians are great communicators of style, because it’s organic to most of them—meaning they dress themselves—and their look represents whatever they’re saying with their music. People don’t necessarily separate those things. If you dress X way, you’re saying, “That’s my tribe.” Musicians are real communicators about fashion and style. Musicians are also the voice of young women, and we think they have a lot to say. You’ve been gutsy with a lot of your recent cover choices. Do you feel a lot of pressure about newsstand performance? If I put Keira Knightley on our cover, it gets 2 billion press impressions around the world. There’s a lot of interest in our content. The newsstand isn’t considered as important to our fortunes as it once was, but magazine editors still think about it. We like to put women on our cover who are not seen everywhere—and it’s harder and harder to do—who are at an inflection point in their lives. As the audience for Elle has changed, how have you changed? I’ve always been drawn to popular culture as a means of a conversation about what’s going on. People at Elle were not into doing Project Runway because it was reality television. My thought was, if people are interested in this, it’s a great way to have a conversation with the culture about what’s going on with the culture around something that we care about. Does a good editor in 2015 need to have a publishing gene? Sure. Absolutely. They need to care about how the business is run, and have a strategic take on advertising, marketing, and promotion. Are you down with native advertising? My boss, David Carey, has been very respectful of our efforts to make it work in a way that’s good for the business, good for the people who are trying to get their message across in advertising, and good for our audience in terms of being able to be clear in terms of what it is that we’re presenting to then in a quote-unquote native delivery. How do you interact with Elle.com? Hearst Digital oversees it, and I talk to them about big initiatives. Leah [Chernikoff] is the editor of the website, and rarely do we disagree about what’s going up. She reports to Kate Lewis, and Troy Young has done an incredible job of getting the audience he wants to get. He’s a very smart,

strategic guy. But at the end of the day, if somebody’s unhappy, whether it’s a reader, a user, or an advertiser, I still get the call. There has to be a very open conversation between us about the Elle voice and Elle’s point of view on things. Leah is a strong editor, and she runs the website with great authority. Are there any topics that are off-limits? There are lots of stories I’m pitched that I don’t see in Elle, but those are individual stories. Topics are a pretty broad thing—I would hope not. We don’t do a lot on the global financial markets, but if the market is crashing, the website could cover it from an Elle point of view. Do you ever get tired of fashion—the scene, the shows, the appointments? Only of bad fashion. I still have the enthusiasm for the feeling of possibility when you enter a show or a showroom. But when you talk to designers, particularly the younger ones who really want to make their mark, it’s exciting to see them work and struggle and figure out their point of view. I’ve never seen you wear denim. Do you ever wear denim? Yes, I do! When do you wear jeans? Much of the time. Really? Yeah. © 2015 WILLIAM ROSS

them with our readers, but I can’t claim to have developed them. However, we often put writers on topics that they wouldn’t have written about elsewhere. That’s really the fun part. The magazine has had three different creative directors under your tenure there—Gilles Bensimon, Joe Zee, and now Alex Gonzalez. How has the magazine been different in each of those incarnations? Gilles launched the magazine, and he certainly was the architect of the idea that you could shoot a strong, sexy girl who looked at the camera with intent, but he also shot all the pictures, so in effect, when Joe started, we kind of had to build. In some ways, it was a restart, because Gilles so dominated the fashion well that we had to build the photographer portfolio, not from zero, but Gilles was that history of what Elle fashion looked like. That was certainly one change. Joe brought in Carter Smith, and he’s very cinematic in the way that he shoots, and we hired Paul Ritter as design director, who brought a kind of “pow” and elegance at the same time. Alex brought and has really nurtured Paola Kudacki, who is doing really great work for us, and Liz Collins. And he lured Evan Campisi, formerly of Nylon who also did award-winning work at Entertainment Weekly, as design director. He’s very cool, with avant-garde sympathies, and we’re working on some things now, which I’ll keep under wraps for a minute longer. They all have different sensibilities, but fashion changes every 10 minutes, right? Fashion is constantly in motion, so you want the pictures and look of the magazine to reflect what’s going on right now. So you have to evolve too, meaning the look and the feel, and what we’re talking about and what that looks like on the page. Excuse the cliché, but what is on your professional bucket list? CEO...? I drive David [Carey]—and everybody I’ve ever worked with—crazy, but I have this idea that there’s not a lot of credible fashion, with a capital F, on television. It would be great for there to be Elle TV, because we have a very specific idea about women and what they’re interested in. We do the kind of reporting that doesn’t always get applied in the wider world to “women’s topics,” which are in fact human topics, like reproductive health or the wage gap. When you need to get away from being the editor of this massive brand, what do you do? Are you a nature lover? A surfer? What don’t we know about you? I really enjoy the company of my children. I only have them at home for a couple more years, and they’re really fun to hang out with. You probably don’t know that I know a lot about Little League baseball. We went to Cooperstown; my son spent a week there playing tournament baseball. If a publisher were to come to you and say, “We want to publish the Robbie Myers story,” who would you want to write it? Robbie Myers. I looked through Billy Farrell and Patrick McMullan, and I don’t recall seeing many jeans or prints… Those are black jeans. And I’ve worn a print. Is there a picture of it somewhere? Could I prove it? I could, probably. What do you wear on the weekend? Those jeans we’re talking about. Where do you shop? Net-A-Porter. I don’t have time to go to boutiques—I wish I did. I do have some time to shop in Paris because my children aren’t there and sometimes there’s a little too much lag time between shows, so I’ll run into Givenchy or Céline to see what they’ve got. What’s a better age, 30 or 15? Thirty, although my daughter’s turning 15. If you’re not yet 15, it’s great! Any good memories from your 30th year? I remember the birthday party that somebody threw for me at an editor at Rolling Stone’s apartment. It was so much fun. I was wearing a black dress, with big gold earrings, and I have a drink in one hand and a cigarette in the other. E. Jean Carroll told me that you’ve never asked her for advice. Is that true? I get a lot of advice from E. Jean. She’s turned in her column every month for so many years. I think a lot of people don’t know what a journalist E. Jean really is. She wrote a lot of great journalism in a lot of great places, and sometimes we have spicy conversations about our worldviews. She’s a humanist and a feminist. She’s one of my favorite Elle voices. What are some of the other marquee voices in Elle over the years that you are especially proud to have cultivated? I love the work that Daphne Merkin does for us; Lauren Slater; Karen Durbin, a great film critic; Holly Millea. On staff, Ben Dickinson; Maggie Bullock, a great writer; and Laurie Abraham, who does award-winning work. Anne Slowey, when I can get her to write—she’s pretty busy. Kate Christensen writes for us—I can’t claim that we developed her voice, but I’ve certainly appreciated having her and Chimamanda Ngozi Adichie in the magazine. Erica Jong has written for us, too. Again, they have their own voices, and we’re happy to share

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

R E V O LV E C L O T H I N G . C O M @ R E V O LV E C L O T H I N G

Lucy Yeomans International Fashion Magazine of the Year, Porter

YEOMANS’ LAND With showstopping visuals, incisive stories, and an addictive click-to-buy component, Porter magazine is the shopping and lifestyle guide that modern women have been waiting for. Editor Lucy Yeomans explains its ascent. BY ASHLEY BAKER

One of your strengths as an editor is that you’re so strong in the visuals as well as the words. Which came first for you? My background was as a writer, but I studied the history of art, and I’m with an artist, so I’m around art every day—even if I don’t want to be. [Laughs] The visuals and the words have to be complimentary, and a really good magazine has to be an interesting combination of the two. FA S H I O N W E E K D A I L Y. C O M

What do you think makes for a successful editor in 2015? I went to Natalie [Massenet] with the idea of creating this magazine for a global company, and one of the reasons it was super exciting is because it’s led by a visionary leadership team. Things move so quickly here, and to be an editor in 2015, you have to give the woman the content she wants, and where she wants it. You almost have to forget what you think

you knew about publishing. We can buy everything from the catwalks now, so my job is about curating a point of view for the audience. And can you add a service element? How can we make this experience better for our reader? When I’m going through our digital edition, I’m looking at shopability—you can click on that cover and buy the dress. On an inside page, you can click through to a website of an author’s work, or book that spa. At Net-A-Porter, we’re always asking, “Where is she now? Where are we reaching her? How do we talk to this woman?” Some of our favorite luxury brands, who shall remain nameless, do not sell their ready-to-wear online. Do you think they’re completely insane? No. Everyone chooses how they have a dialogue with their audience. There are certain things I can’t imagine buying online, and there are other things that surprise me. But again, I think they need to think about where their audience is, and how would she like to consume their product. When we launched Porter, there was a big misconception that we were going to be a Net-A-Porter catalog, and actually we’re a very even experience. If you want to buy that Chanel suit or that Hermès bag, we have a concierge service that will deal with you. With brands, the goal is to have a dialogue, which may be online, in stores, or through personal shopping. Who are your most trusted advisers? My other half [artist Jason Brooks]. I’m very close to my publisher, Tess Macleod Smith. And I have a few friends who I think are real Porter women, and sometimes I’ll run things by them—I’ll whip out my iPhone in the playground and give them a preview of the cover. Who are your toughest critics, besides yourself? The women we make the magazine for. At an event earlier this summer, a model came up to me and said, “I just wanted to say thank you, because I haven’t really read a magazine for 10 years and your magazine made me feel like I could go out and rule the world and made me feel really proud to be a woman.” That comment sends my happiness off the charts. I always love to hear what women think about us. It’s no secret that this is a difficult time for American magazines. Do you have any advice for us? People love well-curated content with a strong point of view. And I think the most important thing is just to listen to your audience. We have our own publishing division, but the company believes the customer’s always right, and we give her what she wants. And the service element is really important. For quite a long time, magazines have been, “We’re here, this is what we think, now go out and listen to what we say.” You can pick up some magazines, and the clothes might not be in shops for another two months! We surveyed 7,000 women from around the world and asked what they wanted from a magazine today. They wanted to receive it when the clothes were actually in stores. So we’re not trying to be first. We live in a culture of instant gratification—we see something in Porter, we want it, and we will get it to you. You can click on the Marc Jacobs cover dress, and if you’re in New York, it can be in your house in two hours, before you’ve even finished reading the magazine. Yes! It makes wardrobe-building rather easy. And then you can get on and live your life. I’d rather go see Anish Kapoor at Versailles. We’re all so busy, we have so little time to be with our families, we’re all Instagramming and socializing. Before, you’d be on a car journey, or a train journey, or a commute to work, and you’d maybe read a paper or you’d sit and stare out the window, but now, we all have so many pulls on our time, and I just wanted a magazine that kind of cut through it and said, “This is the good stuff.” We’re not going to cover every single trend—I banned the word “trend” from Porter. It’s about how you’re going to put together that wardrobe. Some of it’s really basic 1950s fashion magazine stuff, which is combined with lessons from all the wonderful brains in my company who make me think about things differently. Such as… When we’d first begun, we were talking about subscriptions. We were talking with the customer care team from Net-A-Porter about what would happen if a reader suddenly didn’t like the magazine. They said, “Of course if they don’t like it, they can send it back.”

Is there anyone you can’t book for the cover that you would love to have? Yeah, I probably can’t say that because they’ll probably be upset. [Laughs] The funny thing about the covers is, there are lots of people, and then there are not lots of people, whom I want on the cover. I’m actually glad we only have six a year. We’ve done a lot of model covers, and I’m really, really happy that they’ve performed so well on the newsstands. Because again, I think that there’s lots of ways to tell a story about a woman, and sometimes it’s with an interview with an actress and sometimes it’s a model working with a fashion story. I want people who are willing to do what we want to do. It’s not about putting them in some kind of crazy scenario—it’s more about working with them to do something that feels almost more like a portrait. I remember sitting in the Four Seasons in Milan before Porter had even launched and showing Cate Blanchett this video of who I thought the Porter woman was. It was made up of all these illegal video clips that had been strung together. I said, “This is my Porter woman, and you are absolutely 100 percent her,” and she was like, “I’m in. I’m in!” Alex White has joined Porter in a more formal capacity. Why did you decide to solidify that relationship? Alex and I have been talking since before Porter was born. Alex really got the woman that I wanted to represent. Obviously, I’m a big fan of her work, and we really needed to get a team together that worked properly—the photographers, the stylists, our fashion director. It’s a real collaboration, making these projects, and making that relationship a more formal one is very, very exciting for us. If you were not editing a magazine, what would you be doing? When I’m a crazy Englishwoman living in the country, I’d love to curate a sculpture park. I have a massive passion for all sculpture, but particularly contemporary. Where do you shop? Even pre Net-A-Porter, I was a mad Net-A-Porter shopper. I want the transaction to be done quickly and painlessly. I love the power of clothes, but I actually hate shopping. [Laughs] I’ll definitely get fired for that one! Is there anything gauche about you? I really like cheap chocolate. I’m never good at scheduling in manis and pedis. I also like some quite bad crime dramas on television. This is not gauche, really, but everyone thinks I have my hair blow-dried, and I never get my hair blow-dried. I’ve got my hairdresser asking, “And when did you last have your hair cut?” At Net-A-Porter, we have some very, very chic American ladies around, and they’re all so perfectly groomed. Growing up in Scotland, you groomed your horse, you didn’t really groom yourself. And recently, someone was telling me about how they really didn’t want to go to Disneyland or Legoland. I practically had my child in order to be able to go to theme parks. Are you a roller coaster girl? I love them. And I’m a big Formula One fanatic as well. I love anything fast.

LUCY’S FAN CLUB “Lucy is incredibly creative and brilliant in everything she does. Even more than that, she has such an effervescent energy that is contagious whenever you’re around her.”—Karlie Kloss “Lucy is a brilliant editor who understands what fashion is all about and knows how to make things happen! Porter is the latest proof of that, and I enjoy it immensely. It is smart, sophisticated, and has a strong point of view.”—Diane von Furstenberg B FA N YC . C O M ( 2 ) ; A L L OT H E R S C O U R T E S Y

Stephen Gan Best Men’s Magazine of the Year, VMan

V-IP

He spends his working days side by side with Glenda and Carine, but Stephen Gan always finds time for VMan. Fashion’s coolest guy tells us why. BY EDDIE ROCHE PHOTOGRAPHY BY STEVEN KLEIN FA S H I O N W E E K D A I L Y. C O M

“

Magazines can still inspire; they can still dictate.”

How did VMan come about? Five or six years after starting V, I decided V needed to have a little brother. I had been talking to a lot of friends and people in the industry and it felt like menswear was about to have a renaissance period. I remember feeling like there needed to be a men’s fashion magazine that addressed not just me— because I couldn’t find anything I wanted to read, as a male reader interested in fashion—but this group of men who, quote-unquote, came with the dawning of the metrosexual. Was producing the first issue a smooth process? Because I had five years’ experience from doing V, I had learned the ropes, so to speak. I wanted VMan to not be as oversize as V. I remember thinking, It’s got to be a good size so a skateboarder could roll it up and put it in his backpack. I wanted it to be a guy’s manual that they carried around, and that they learned from, and that inspired them. And I wanted it to contain what I considered to be real men’s fashion, because I felt that at the time a lot of men’s magazines were not showing you things as incredible as we were seeing on the runway. Who’s the reader? I don’t know what he does necessarily for a living, but I see him as being a world traveler, and if he can’t travel the world, he wants to know about everything that’s going on in the world and in pop culture. I see him as being very interested about men’s fashion and the future of men’s fashion, and knowing that putting on a Raf Simons suit or a Comme des Garçons suit or a Givenchy outfit didn’t mean that you were a fashion victim. It was just sort of your way of being. Your way of life. Also he’s got to have an unlimited shopping budget. Of course. How has the magazine changed since you started? I don’t think it’s changed that much. I see it as having kept the same values

and having kept the same aesthetics. [Starts pulling out old issues of VMan.] That’s Ryan Gosling; this was his first cover ever, by Inez and Vinoodh. This was Tom Brady’s first men’s fashion cover, also by Inez and Vinoodh. What are some of your best memories? Karl Lagerfeld did this cover of Kanye West. I had a crazy idea one day, and I called him up and I said, “Would you stick a dollar bill in Kanye’s mouth?” And they did it. Every copy came with a dollar bill on the cover. It was pretty hilarious. Is that even legal? It is, we checked. You found Matthew Terry in a VMan contest. He was part of this story called “The Contender.” That was his first picture. Then six months later I was walking down Houston and saw him on the Calvin Klein underwear billboard. He was a great discovery. Who are other people you’ve helped launch through VMan? Garrett [Neff]. He’s just come out with his swimwear line. These were his first pictures ever, by Bruce Weber. I tagged Simon Nessman’s first pictures too. Do you have a favorite male model of all time? Not one favorite, but Brad Kroenig, Andrés Velencoso, Tyson Ballou, Simon Nessman, RJ Rogenski, Garrett—they’re all incredible. How do you find talent? The model search we do with Ford is one way of finding them, but a photographer like Bruce Weber will ring me up and say, “You’ve got to see this guy.” He’ll send someone over to see me like once a month. The first time I met Gigi Hadid and Kate Upton was that way, when Ivan Bart called up and said I needed to meet these girls. Those must be amazing moments. They’re surreal, and so real, and so unassuming, so you’re more shocked at the results later on. While it’s happening, it seems sort of normal. You’re also working on CR Men’s. How will it be different than VMan? CR Men’s is completely Carine Roitfeld’s vision. She did guest edit one issue of VMan a few years ago. That was our test drive to see how we could work together. She’s always had her own, very personal take on menswear, and it doesn’t necessarily overlap with VMan. I look at CR Men’s and I think, Oh, my God, what an incredible selection of clothes. I want every piece, and that’s Carine’s eye. I still today admire her fashion sense and how she can spot the best piece from any collection, be it men’s or women’s. How closely do you pay attention to newsstand figures? All the magazines—V, VMan, CR, CR Men’s—we produce between 60 and 90 thousand copies per title and you can average a 60 percent sell-through rate [on newsstands]. Putting someone like Lady Gaga on the cover has sometimes resulted in a 75 percent sell-through rate; those are really good figures for a small-scale circulation. I like knowing that out of every 10 copies that get out there, seven of them find homes. I hate the fact that three or four copies might be returned or discarded. It’s sort of like being a bakery and delivering muffins to a store. You want to make sure the muffins get eaten and not disposed of. That’s the sad thing about our business. Paper is such a beautiful, precious thing, but quite a number of magazines get discarded. Have you ever worked with a focus group? [Shakes head no.] My focus group is my team. I feel like I work with a brilliant group of young editors and we’re constantly talking about things and talking about what’s new and what’s up. It’s a magazine’s job to pick out what’s emerging out INSETS: COURTESY

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

there and show it to the readers. Magazines can still inspire; they can still dictate. When did you fall for magazines? My parents owned a printing press, and it kind of just hit me one day when I was at the printers that I had grown up going to the printers. So I love the physical act of seeing those wheels turning and watching the ink hit the paper. It’s a very tactile thing that you don’t get when you see something online. Holding a magazine, the kind of paper stock that it’s printed on and the print quality—those are painstakingly accomplished elements that go into wanting and loving magazine-making. What’s the most satisfying moment on the job? When the printed magazine gets bound. Because I’m always checking loose pages, and at the end of that process you get a bound copy, and I can stick it in my backpack and read it at home. I think that’s the most satisfying moment. Sadly sometimes that only lasts about 10 minutes and then you’ve got to start thinking about how you can do the next one. The other analogy I always use is that you and your team are like a band. The performance has to be good, the music has to be good, the audience has to be walking away wowed. I’m not saying every issue is great—I’m saying I’m constantly trying to look for the perfect issue, like a songwriter wants to write a perfect song every day. And the songs keep going out to the world, but there are so many new songs to be written. That’s how I feel. What’s your hope for the future? I hope menswear designers don’t think of us men as only being able to wear three-piece suits every day. As long as designers keep designing in innovative ways and keep looking to the future, those of us in men’s magazines will have something to talk about. I want more designers doing more exciting things that will help the industry overall. More photographers wanting to do good men’s photography helps too. More new models being born and more actors. The more pop stars and celebrities, the more exciting it is for a magazine. The worst thing for a magazine is to not have anything to write about.

J E A N - PA U L G O U D E

The Gan Fan Club

Hi, Karl! How are you? I’m very well. Thank you! You and VMan have a long relationship. Since it existed! Stephen is one of my oldest friends! Why do you enjoy working with them? The size, the paper, the quality of the print, the spirit, the modernity. It’s not intellectually pretentious. It’s very different and goes from one extreme to the other, but always in the spirit of the time. Why do you and Stephen work together so well? His mind is very quick, and mine is not too slow. One inspires the other when we work on projects together. Is there one word that describes Stephen? That’s very limiting. He’s different than anyone else. There’s nobody else like Stephen. What do you have in common? We have nothing in common, which is more interesting. Do you ever have creative differences? No. Not that I remember. What has he taught you since you’ve started working with him? Everything! From gossip to art. He is very informed, and I’m pretty informed too. We exchange information in all kind of areas. Serious ones and not serious ones. You can still shut up and say nothing and still have the feeling that you’re not bored with him. Where do you get your information from? I don’t go to websites at all, but I’m not blind. I’m very much into magazines and the daily papers. I’m not even into TV. I love print. I’m a paper freak. You’ve worked with Brad Kroenig a lot for VMan… Now I work with his son! The famous Hudson. He spent his holiday here. He got his first iPhone in gold. He’s quite a number. You saw the article in Vanity Fair, non? What did you think of that piece? For me it’s a very sad thing because it’s the last article of my great friend Ingrid Sischy. Do you know what Hudson said to Ingrid? “We are four here. My brother, my mother, my father, and me, but there’s only one grown-up and that’s me.” Can you come to our Fashion Media Awards? Unfortunately I can’t. It’s very near the Fendi show in Milano. I can’t travel in early September at all by contract. What content excites you in VMan? New faces, new photography, new models, new fashions. FA S H I O N W E E K D A I L Y. C O M

Inez van Lamsweerde and Vinoodh Matadin When was the first time you worked together with Stephen Gan? Our relationship started together in 1994 when Visionaire was still made out of Gan’s living room. We lived with him for about a year after having met in Amsterdam, and we immediately became friends. We have very fond memories of those early years when we were all starting out together. Stephen introduced us to everyone and everything in New York. He is our most loyal friend and collaborator. What’s the creative process like working with VMan? Very simple. They ask us if we are interested in the person they want for their cover. We discuss styling and go into the studio to create the series. Together, with Stephen, we select the cover image and go back and forth on the layouts inside. What are your favorite experiences with Vman over the years? Tom Brady was a great one since we had no idea who he was when we were asked to shoot him. American football was not on our radar. He blew us away. He is so gentle, quiet, confident, and gracious. What makes VMan the best men’s magazine? It has the right balance of everything. It’s chic, sexy, and always cool. Is there anybody you’d like to shoot for VMan who you haven’t yet? Mr. Obama, Jim Carrey, and Mick Jagger.

James Franco You’ve done so many cool things with the V and VMan team over the years. We have a creative relationship. I did a crazy cover for them where I had a flamethrower and was part of an art shoot with an artist named Carter. We did these crazy videos and VMan produced them. We have a creative relationship and Stephen will have a theme for each issue I do. I’ve been doing projects with them for the past 12 months, of my writing, of poems, and contributing paintings. Not every magazine gives a voice to poetry. It’s sort of what I always wanted. It’s a good place for me because it’s not like a hard-core art magazine or poetry magazine. It’s allencompassing. The work can fit in there without the same kind of pressure of other magazines. They have their hands in everything. They are as hip as anyone. V and VMan seem to be younger than some of these other magazines. I don’t mean Teen Beat. They’re hipper than most. When was the first time you met Stephen? It was his birthday and Lady Gaga did a special performance for him in something like a little mermaid outfit, a shell bikini. It was a private show, I think at Upstairs/Downstairs or some bar like that. It was pretty incredible to be with Stephen and Lady Gaga at a private performance.

“It’s always awkward to be in front of the camera, not hiding behind a character. Still imagery has always made me feel a little uncomfortable. But working on the cover with Stephen was so great. There is an effortlessness to Stephen that makes you feel comfortable. He has a relaxed elegance and a personality that exudes warmth. He is one of my dearest friends, and I have nothing but love and respect for him.” —Alex Pettyfer

“VMan started my modeling career—winning the contest, and Stephen and Ford Models giving me my chance. I’m thankful to be blessed with my career and all the opportunities, which keep coming. I’ve been told often, the career that I have—which came quite fast—was not a normal situation, so I am truly thankful. Stephen is an artist, a friend—loyal and real. Thank you, Stephen, for everything.” —Matthew Terry

“Stephen is a great person in every way. He’s a fashion genius. His ability to work with so many different circles of the fashion and celebrity world makes him and his magazine so unique. Stephen has had a huge impact on my career. It was an honor to be on the first cover of VMan. It was one of my first covers, and it was very exciting for me! I knew from the first issue that it was going to be a huge success, and I was right!” —Brad Kroenig

“My first experience in fashion was with VMan. I knew nothing about art photography and the creative process behind it before I started working with them. What’s been cool about working with VMan for me is that I’ve always felt like there’s such great flexibility on the shoots. I always feel like I’m there as the creative decisions are being made. It’s always exciting. Stephen told me recently that he’s seen such growth in me as I work on new projects I’m involved with, like my swimsuit line KATAMA. He’s been very supportive.” —Garrett Neff B FA N YC . C O M ( 4 ) ; G E T T Y I M A G E S ( 3 )

From left to right: The Kooples suit jacket and pant, Rebecca Minkoff bag Sandro dress, See By ChloĂŠ bag Jenni Kayne coat, Kate Spade bag

In stores September 1st Bloomingdales.com/100percent

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Stefano Tonchi

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

Best September Issue, W

PUTTING IT TOGETHER

With model-of-the-moment Gigi Hadid on the cover and a slew of eye-popping fashion stories— Adriana Lima and Joan Smalls in Cuba! Amber Valletta and Eva Chow in…a bathtub?—there was no doubt that W’s September issue was the year’s best. Here, editor in chief Stefano Tonchi and his team tell us how it all came together. BY EDDIE ROCHE PHOTOGRAPHY BY GIORGIO NIRO Why is the September issue the most important? There are always great expectations around the September issue. They’re usually the fattest issues. In the last three months of the year, you make a lot of your big numbers—as a retailer and as a magazine that benefits from advertising. It’s not only more advertising pages—a thicker issue means more editorial pages. And that makes it more fun to work on a September issue. When you have more pages, you can have a larger vision and tell more stories. When do you start planning the September issue? Usually on the way back from the [fall] shows. And after March you start to think about what you will do. So when did you decide to put Gigi Hadid on the cover? That was much earlier. Actually that goes back to The Daily’s [Fashion Media] Awards, when I started talking about Gigi. Yes, she was the host last year. I really loved her onstage and I was like, Oh, she’s more than a model. She actually has a personality, and she is a great entertainer. We introduced ourselves to each other, and then I saw her at some other events and we started the conversation. For every single cover, especially the September cover, you have to put down your stick very early. With Gigi, we wanted it to be the only cover—her first W cover and one of her first [major] covers. Was it important to you to have a model on the cover this year? I think it goes a little beyond the fact of putting a model [on the cover]—it’s putting somebody on the cover who is the conversation at the moment. So I think about Cara [Delevingne, who covered the September issue in 2013]. With Cara, there was a lot of talk about who is Cara: Who is this girl that is too short to walk the runways, too particular, special, eccentric, to be a real model. She actually has too much expression. And it’s the same with Gigi. She doesn’t fit the profile of a model, even if she’s incredibly good-looking and tall. I think we pick all the covers to illustrate a larger concept. With Gigi, the idea was “the post It Girl.” And clearly it’s post It Girl, and it’s the girl who posts a lot. It’s a double entendre. Are you saying the It Girl is dead? There are so many It Girls, you don’t even know why they are there, and many

are there because they post a lot. They have a very large social media profile. Many of these girls, you don’t know exactly what they’ve done, but you know they have a million followers. And that’s really what defines this new generation. They’re not your typical model, they’re not your typical It Girl—they’re somebody who has an incredibly strong group of connections and who appeals to so many different kinds of people. It’s a social media phenomenon. Lynn Hirschberg’s story on Gigi is fantastic. That piece really goes to celebrate my great staff, starting with Lynn, who has been with me for a good 10 years. She has this capacity to understand pop phenomena and to see the changes in society, and she always comes up with great large-picture ideas. She’s an incredibly important part of the W identity. At the same time, I have somebody like Edward [Enninful, the fashion director], who is so great at transforming something that may be a little lowbrow into something that is very sophisticated. He brought in Steven Meisel [to shoot the Gigi cover], and Steven Meisel’s team really transformed Gigi into something she’s usually not. What’s your conversation like with Steven Meisel when you’re working on this kind of story? We go to Edward a lot because Edward is really more than a fashion director. He works so closely with all the photographers. Usually we talk about how we see her, what we should do. We all put one word here, one word there, and then Edward puts together all his boards and the clothes, and he talks to the photographer. I like to leave a lot of freedom to the photographer and Edward. When there is a great relationship of trust, the only way you can have surprises is to have positive surprises. I mean, this is Edward’s cover. It’s his cover, Steven’s cover, Gigi’s cover. I kind of made it happen and published it, but sometimes I feel like I’m the facilitator. I think a lot of times editors in chief are the ones who try to connect the dots. I think a good editor in chief should try and create the best condition for his staff and the contributors to create the best work. The rest of the issue is just as exciting, especially the “Back in the Limelight” story shot by Mert Alas and Marcus Piggott. That looked like an amazing party. Actually, many people were like, “Why were we not invited to this party?” And I’d say, “It was fake!” I mean it was—but so many people in Los Angeles kept I N S E T: CO U RT ESY

calling me, saying, “I keep seeing this Instagram of Amber [Valletta] in a very irreverent pose”— because there were some pictures where it looked like she was giving blow jobs—“and then Eva Chow in the bathtub. Why was I not at that party?!” It’s fun—and this is very W—when life becomes fiction or when fiction becomes life. Inez and Vinoodh also shot a gorgeous story for this issue, “Mourning Glory.” Yes, they actually went to an island off the coast of Holland. We tried to have a lot of different voices, and a lot of photographer’s personalities, and the trends of the season. You have the black Victorian story by Inez and Vinoodh, you have the masculine/feminine/androgynous story, you have a very colorful story that we shot in Cuba. We don’t do it in a very literal, academic way. It’s never like, Okay, this story’s about the white lace, this story’s the flower print. There’s always a little bit of context. So you take a story like the bright dresses, but it’s also a story about Cuba, and Cuba is a great conversation starter right now. This is your sixth September issue at W. Do you have a favorite? The first one is really one of my favorites because it was the first cover ever of Jennifer Lawrence, and the first cover of Jessica Chastain. We featured eight girls, and out of these eight girls two were nominated for an Oscar in five

years, which I think is pretty good. How do you feel about W’s place in the media landscape right now? W is living this magic moment. On one side, it’s in a very good place in print, because it serves a very specific audience and it’s a very beautiful object. Because of its quality it avoids a lot of the problems print has today—and numbers are on our side in that sense. But what is completely new—without investment or even strategy and marketing—is that we saw this explosion of our social media platforms, and it is incredible. We are suddenly really appealing to a completely different generation who probably don’t even know that W exists on paper; they only link it to social media. It’s not difficult to understand why, because social media is all about personalities, it’s all about wanting to be an insider, it’s all about that kind of voyeurism that is at the core, the DNA, of W. So we are somehow in the present, but we are very much in the future too. How many more September issues do you have in you? Oh, God. I think the life expectation is 120? So I have a good number to put out. It’s very fun—to have so many pages to fill, to tell stories, to inspire. That’s the beauty of the September issue.

Edward Enninful, W’s Fashion and Style Director How did you decide on Gigi for the cover? Stefano, Lynn Hirschberg, and I decided that Gigi was the face of now. We wanted to capture a moment in pop culture, and she is one of the girls who, in terms of modeling, has really carved a unique career for herself. The shots by Steven Meisel are gorgeous! Steven Meisel and I have known each other for so long, and we throw ideas back and forth. The beauty of it is the process we go through before shooting the story. The discussions, the meetings, creating a life for the character, the clothes. It’s all fun. What’s it like working with Steven? For me, it’s almost like going home. He helped bring my career to the second level. It’s almost telepathic. We don’t have to say a lot, and we share similar references. We know each other so well and have similar tastes. The issue is packed with striking fashion stories. The September issue is 100 percent fashion. What I love about it is that it’s not only a strong statement about the rules of models and fashion, but seeing fashion in a context that relates to the world today. The “Mourning Glory” editorial, by Inez and Vinoodh, is one of my favorite stories in the issue because it transports readers into a world that blends reality and fantasy. How did you pull off the L.A. party story with Mert and Marcus? I’ve known them since the late ’90s, and I’ve seen them grow from kids to international photographers. We have a connection. When I went to the collections, a few designers had created shows that gave a nod to the ’80s. We thought, How can we do a story that isn’t shot in a studio with context? So much about what we do at W is about influencers and offering access to people. The shoot became a real party. We called our friends who live in L.A., like Eva Chow, Paris Hilton, and Miley Cyrus, to be in it. We were working, but it was so much fun, because we were with our friends. You shot the Cuba story with Adriana Lima and Joan Smalls. Was that a dream come true to be there? It has been a childhood fantasy to go to Cuba. When we heard that things were loosening up there, we thought we should go with two of the most beautiful Latin women. Adriana is from Brazil, and Joan is from Puerto Rico. It’s an incredible country. We wanted to shoot Cuba in the best light possible. It went so smooth. You felt that everybody was wishing Cuba well. Reveal the Edward and Stefano dynamic. FA S H I O N W E E K D A I L Y. C O M

He’s one of those rare human beings. Not only is he kind and generous and a great editor in chief, but he trusts you. He lets you do what you do. He’s not telling you what to do. I feel like some of my best work has been with Stefano at W. He’s very involved and wants to know what’s going on. Sometimes I wonder if I can push it that far, and he says to go for it. He gives you the confidence to do what you do. We also laugh a lot!

Lynn Hirschberg, W’s Editor at Large Who came up with the spin that it’s Gigi’s world? I began to realize after doing a little research that she was connected to all these various people. Once I figured out that her stepfather was David Foster, it became clear that I could take it to enormous extremes and she could be connected to basically the planet. It’s the new Kevin Bacon six degrees of separation game. Much better, though. Kevin Bacon doesn’t go all the way to presidents. How much did you know about Gigi before you started doing the research? I knew very little. I knew who her mother was because we shot her for something else, but I didn’t put it together that Yolanda [Foster] was her mother until I started doing research. I often do all my best thinking when I walk my dog, and people were staring at me because I was saying out loud that she’s basically connected to anyone you can think of. I was shocked that nobody had ever connected her to people like Kendall Jenner, for instance. They are, in a weird way, sisters. How so? Her mother, Yolanda, is married to David Foster, who was married to Linda Thompson. Linda was married and had children with Caitlyn Jenner. If you take it from there, Kendall and Brandon and Brody Jenner are half siblings. Through marriage, she and Kendall are sisters. You drew a chart to figure this out. Where did you start? I started with Gigi. She’s No. 1 on the chart. It took me two days to do it, because after a while I could have connected her to you. I can connect her to the world. It became very fun to see how far you could take it. I became terrified that someone would figure this out, because I was surprised that no one had linked her to anybody, especially Caitlyn. That’s really close. What did you think Gigi was going to be like? I’m from Los Angeles, and she’s very much like the girls I went to high school with. I’m obviously older than she is, but once you’re in high school, you remember that very vividly. She was a nicer version of the volleyball girls that went to my high school. I was fascinated that the last time there was a top model from California, it was Cheryl Tiegs. What interested me about Gigi, and to some degree Kendall, is that they’ve reversed the process of what it is to be a top model now. It used to be that the brand made you, but now they’re there to help the brand because they have so many followers on social media. They’re the first group who are doing the brands service, rather than the brand inventing them. She was aware of it and very smart with it. She has very good manners. What you know about her from interviewing her is that she was brought up very well. Her mother did a good job. She’s extremely polite, she has a sense of humor, and she’s a worker. I like a worker. Can you think of anybody else who has come up this quickly in the modeling world? Cara Delevingne. We gave her her first cover in America. There’s been a long season of models who they’ve tried to turn into supermodels, but they didn’t have much personality. They may have been attractive and sexy and impressive to designers, but they didn’t have personality for the average person looking at them. Gigi and Cara have personality. They’re interesting people who happen to be models, rather than mannequins.

Lucy Kriz, W’s Chief Revenue Officer How’s business at W? W is on fire! Our brand desirability is higher than ever, and 2015 is on track as our third consecutive year of growth, in both print and digital revenue—which is up more than 40 percent year-todate. We’ve expanded our digital advertising offering, and we’re driving innovation across all aspects of our business. In print, we’ve had double-digit category growth in fashion and retail, and we’ve doubled our auto business this year. We’ve created a truly luxurious ad environment: More than 80 percent of our paging is prestige. What are you particularly proud of in the September issue? September is all about authority and impact. We have nine impact units, bigger and bolder than before, with a truly stand-out Louis Vuitton six-page cover gatefold and an exclusive, beautiful eightpage poster from Coach. Eleven advertisers increased their paging in the issue, and more than 20 percent of the issue is new business. What feature did you enjoy the most in the September issue? Going back to the idea of escaping the ordinary, a fashion portfolio like “Mourning Glory” really captures that spirit. It evokes a sense of surprise through visually compelling, immersive content.

B FA N YC . C O M ( 3 ) ; A L L OT H E R S C O U R T E S Y

Jane Sarkin & Jessica Diehl Scoop of the Year, Vanity Fair

Caitlyn Jenner with Vanity Fair’s Jessica Diehl

THE BIG REVEAL Vanity Fair features editor Jane Sarkin orchestrated Caitlyn Jenner’s debut on the magazine’s May cover and Jessica Diehl engineered her fashion transformation. Here, they explain how it all happened. BY EDDIE ROCHE PHOTOGRAPHY BY KATHRYN MACLEOD

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

Jane, how did the Caitlyn Jenner story come about? In November 2014, Graydon [Carter] said to me, “I hear all this stuff about Bruce Jenner.” At this point [his transition] wasn’t in the news a lot, just that he was a cross-dresser. And he said, “Let’s try to get him for a shoot and interview.” My kids would watch the Kardashian show and I thought he was the one interesting person on it. I tried to contact him, but he didn’t have a contact besides the show’s people. [I found his] sports agent and immediately he sent me back an e-mail saying, “Sorry, he can’t do this story. It makes him sound horrible.” And that was the end of it. But I never stopped there. I tried to poke around about ways to get to Bruce Jenner. No one was getting back to me. In early January, an old friend of mine, [Jenner publicist] Alan Nierob, whom I’ve worked with on many covers, called me and said, “I hear you’re interested in doing a story.” I asked, “Is it Bruce Jenner?” and he said, “I can’t believe you just said that.” That’s amazing. He was shocked that I knew. He has known Bruce a long time. He said to me, “We would like you to do the first cover of Bruce Jenner as a woman.” He told me Diane Sawyer would have the only interview with him before the surgery, as Bruce Jenner, and we would have the first photos as a woman. We immediately knew Annie Leibovitz would do the shoot, and we were so fortunate to have Buzz Bissinger to write the story. That combination was unbelievable. Buzz had unprecedented access to Bruce and then Caitlyn. We were the first ones to reveal the Caitlyn name. It was all supposed to come out on the cover of Vanity Fair, which was really hard to imagine. How are we going to keep it under wraps? We had to do it very secretly. I’m sure there were a few people who say they knew about it, but no one was talking and no one said a word. We were in lockdown here. We wouldn’t do anything online. Everything was offline. So no e-mail then? No e-mail. It was very exciting because it was done in an old-fashioned way. No e-mail. No texting, nothing electronic at all. The photos were kept under lock and key, which is usually where you get a leak. We had security at the printing plant, and we had crazy security at the shoot. It’s funny now that I think about it; the whole shoot at Caitlyn’s home is on the top of a mountain in Malibu. That itself was security. There are a lot of paparazzi around, but they can’t get close enough to her. She stayed in that house. She said she did not reveal herself until we came out with that cover. How many months was she waiting? We didn’t do the shoot until May 5, and the cover came out June 1. She did her interview with Diane in February, then she went away and had surgery, and she recuperated in that bunker-like house with the most beautiful views, but it was a prison for her. I think she got used to that. She could stay in there and not go out into the world; she wasn’t ready. And then our cover gave her the ability to go out into the world.

Was the plan always to release it on a Monday? Graydon said, “The Internet is newsstand. We all know it. Let’s not fight it. Let’s go for it.” He said to release it on June 1. We were ready to go Saturday or Sunday if it leaked. It started to leak, but not really. By noon on Monday, it was out. It was really exciting to do it that way. Who chose Buzz to write the story? Graydon picked him. Buzz understood the whole athletic side. This Jane Sarkin and Alan Nierob is a very complicated story. The greatest athlete in the world, 1976 gold medalist, and 40 years later, he’s become a woman. And Buzz is also a cross-dresser. He knew about Bruce Jenner, the Athlete, and Bruce Jenner, the Television Personality. He even says he never had a story like that. It’s the most amazing story he has ever done. He was able to spend hours and hours with Caitlyn. I don’t think there was anyone better to work with than Buzz. He had a real sensitivity for the subject. He got along really well with the family. Caitlyn was fantastic with him. She became very open. How did you prepare for the shoot? Annie had a vision of how she thought it should be, and she wanted it to be an extremely easygoing time, even though it was a very important subject for her to portray correctly. We worked really hard on the setups of the shot. Jessica Diehl did the clothes, and she had her own vision. We had the greatest hair and makeup team. It was teamwork at its best. What was the shoot like? Nowadays you’ll have two hours, but we had two full days. That first morning we all met with Annie in a makeshift production office in Caitlyn’s house, and she gave a pep talk: “This is a very historic moment, this is a very emotional moment, this is a very important day.” And it was really emotional for everybody. And that very first shot, where she walked out of her room in a black gown, was the first time she had seen herself. All the people around her were crying because it was the first time that she actually saw what she wanted to see in the mirror. How many people were there? I would say 20 people. Everyone gave up his or her cell phones. No selfies, no Instagram, nothing. Everybody knew going in that this was top-secret, and we all wanted it to have a big reveal. If it had gotten out, it really would have messed up everything. Who enforced the no-cell-phone idea? Graydon did. We have a security team that we use for our Oscar party and the Washington Correspondents Dinner, and they’re top-notch. We met with them and said this is how it has to be: Everyone has to give up his or her phone, from Annie down. Except Caitlyn didn’t. She didn’t have social media, anyway. Caitlyn launched her Twitter account the same day the magazine came out. It broke every record ever. How were the sales of the issue? I would say up 200 percent over any cover we’ve done recently. In Caitlyn’s documentary series on E!, Graydon mentioned that your managing editor physically brought the issue to the plant. We decided that the only way to ensure it wouldn’t leak was to send someone to deliver the plates to the plant, instead of sending it by FedEx or carrier. She went with it and watched it being printed. They were under strict instructions at the plant, and we had security guards there. We tried to think of everything. C O V E R : A N N I E L E I B O V I T Z E X C L U S I V E LY F O R V A N I T Y F A I R

Who in the office knew about it? A core group of people knew about it, but we were just trying to protect everyone. We didn’t want anyone to leak it by accident. The less people that knew, the better. You did not want to be that guy or that girl that leaked the story. Did you have a “fake” cover to avoid suspicion? Yes, it was Channing Tatum. He was an amazing sport about it because we couldn’t tell him what was going on. He’s the greatest. Have you ever done anything like this before? I did the Suri Cruise cover. It was a while ago, but at the time, that was the big story. How did you keep that story from being leaked? In 2006, we didn’t have the social media problem. Annie and I went to Colorado with security. We had security at the plant again. I kept the story under lock and key. It was a different time. Was choosing Caitlyn’s cover image difficult? No. Any one of those photos probably could have been the cover. But this was the one where she really looked exactly how she wanted to look. We knew at that moment, Oh, my God, there it is. It was so powerful to not have any other cover lines besides “Call Me Caitlyn.” I think it was such an iconic image and historic story. We made it feel very important. We caught this whole transgender moment. All of a sudden, there she was.

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It was such an iconic image and historic story.” Have you heard from Caitlyn since? I went to the ESPYs. She’s thrilled. When she said, “Winning a gold medal was a good day, but these last two days have been the most meaningful.” Did you cry? Oh, yeah. I could cry now. I think it worked so well because she was so open about what she had done and how she wanted to be. For me, it wasn’t a very comfortable situation to meet her for the first time. I was really nervous. And she made it feel comfortable: “This is my life, and I’m Caitlyn.” It was an experience that I will never forget. What do you think the story means? I think it means that everyone can be comfortable in their own skin. She’s making it easier and helping that process. She’s at the forefront trying to help people. I think that’s a message she’s trying to give. And we tried to help her to help people.

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

Jessica Diehl, Vanity Fair Fashion and Style Director What was your reaction when you first heard about the story? I immediately just thought it was great. I found it timely and very important. And what I thought was great about it was here’s this man, who’s incredibly successful in one way, a gold medal winner, pretty major in my book. And he comes to Vanity Fair to put this out into the world. Are you good at keeping secrets? Yes and no. It’s very difficult for me, especially if something’s positive. So if you’re my friend and you tell me, “Please don’t tell anyone,” I can keep that secret, that’s no problem. But something inspiring and something brilliant? I have to say that was really difficult. How many months did you have to keep quiet? March until June, which is a long time. Another editor in chief told me, “I heard you’re doing this.” I had to bald-face lie to him. What kind of woman were you creating? When I first met Caitlyn, a month before we shot her, I went to her house to get a sense. I have nothing against the Kardashians. I think they’re fabulous and amazing. They take fashion to the next level. But it was really important for me to figure out that Bruce-slash-Caitlyn is someone who grew up in the ’50s, ’60s, and ’70s. Her thought process around style was much more American. [Vogue’s fashion director] Tonne Goodman would have loved it. She would have been Caitlyn’s style icon. I thought about Lauren Bacall or Lauren Hutton. It ain’t no Doris Day. Caitlyn’s quite fearless. Who else did you work with on this besides Graydon, Annie Leibovitz, and Jane? [Fashion market director] Michael Carl knew. I knew he wasn’t going to talk. My assistant, Ryan Young, also knew. The three of us went shopping, and it was hysterical. I’ve never had more fun in my life. Why? It’s really bizarre going

to Saks, Bergdorf’s, and Barneys and trying to find certain sizes, which are never on the floor. There were three of us who don’t look that size and I was shopping, supposedly, for my “greataunt” who was receiving an award. We weren’t sure if some looks were going to fit, so Ryan would go in the dressing room and try them on. He was really into it! The most amazing part was that nobody in the department questioned it. Even when I said she has a size 13 foot, wide. They all knew I was lying, but they knew enough to not ask. On the other hand, I thought, “What do you do if this is your life? What do you do if you’re transgender and you want to buy women’s clothing?” Going into department stores is not only daunting for a woman who isn’t a size zero, but there’s no escaping from the eyes of the sales staff. The coolest thing about New York is that nobody batted an eye. Did you have a code name for Caitlyn? Barbra Streisand. I thought it was the same generation. I thought she was really tall, maybe because I saw Yentl, and she’s not. What was the shoot like for you? I don’t really get super emotional about stuff, except this one. What was really stressful was the idea of building from scratch. Her wardrobe a month before the shoot was minimal, minimal, minimal. It was not my taste or even hers. It was more what was available. How can we have a couple things that make the wardrobe real? Have a bit of Max Mara, Tom Ford, a Balmain blazer. Have a bit of fashion and create a cohesiveness in tune with who this person is. What did you think of the reaction to the story when it hit the web that Monday? I was thrilled for her because the most important thing to her was for it to be received in an open way and be part of the dialogue. What was so brilliant was that it was a monthly that broke news in a manner that hadn’t been done in quite some time. Not many publications can do that. Vanity Fair has the trust of people to tell their story and to do that at their own pace. Have you kept in touch with Caitlyn? Yes! We were texting in the morning when the issue came out. She couldn’t believe it. She really was sequestered in her house. The reveal of Caitlyn wasn’t meant to be in the hands of the paparazzi but in a controlled and dignified manner. It was her coming-out party!

K A T H R Y N M A C L E O D ; B F A N Y C . C O M ; A N N I E L E I B O V I T Z E X C L U S I V E LY F O R V A N I T Y F A I R

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Taylor Hill Model of the Year, Social Media

TOP OF THE HILL IMG model Taylor Hill enjoyed a major milestone this summerâ&#x20AC;&#x201D;she hit the millionfollowers mark on Instagram. Did the 19-year-old Illinois native do anything to celebrate? BY EDDIE ROCHE

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

Why is social media important to you? Because of the possibilities it gives me as a model. I have more of a voice, and it shows more sides of me than before. You are perceived by how you look, but with social media you can say what you want and show your life. People can connect to you in a way that they couldn’t before. You reached 1 million followers on Instagram this summer. What was that like? I didn’t know what to think—I was a little shocked. I didn’t expect it to happen so quickly! It exploded out of nowhere. Did you celebrate? No, but it’s something to be excited about it, because it shows my hard work and my progress. I was grateful. How long have you been on Instagram? About three years. I was young when it first came out, but I couldn’t get it because I didn’t have an iPhone at the time. I finally got one! I’m a bit of a tech nerd. Do tell! I love technology and computers. I want to take classes for video editing and make my own videos. I used to do a YouTube channel with my sisters. My older sister is a photographer, and she’d make the videos. The shows were about the travels in my modeling career. Not a lot of people get to see what it’s really like. Reality shows make it more dramatic than what it is, or they sell people on the negative of what the fashion industry is going to be like. It would be cool for people to see a clear perspective of what it’s like to be a model, and the only way to do that is to do it yourself. Who do you follow? Everyone—friends from my hometown to people I look up to. I follow photographers who I think are really cool, like Mario Testino. He’s like a little teddy bear. How could you not? I don’t follow a lot of people. Some people follow 500 or so, but who has the time to scroll through all that? I limit my feed to what I want to see. I don’t like to follow people I don’t know, unless it’s a celebrity like Taylor Swift or Selena Gomez. What’s your favorite emoji? The smiley face emoji with the blushy cheeks. He looks really happy. I love the monkeys, too! Which social media platform do you spend the most time on? Instagram and Snapchat, because they’re visual. I like to follow my friends on Snapchat to see their stories and find out where they are. It makes me miss them more, but I still feel like we’ll have something to talk about when I see them again. How do you like Snapchat? I’ll Snapchat when I have something fun going on, but it’s something you have to always be aware of and think about, which I don’t like. I want to be aware of what’s happening naturally in my life. I don’t want to be the person who picks up the phone and has to video everything. I only do it when there’s time! Do you read the comments people leave

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on your Instagram posts? No. I used to when I was younger and not as big, because it was mostly positive, but I read them a few months ago and swore off them. How much time do you spend online? It depends—I do a lot of stuff online, like my banking and e-mail. I watch a lot of Netflix when I’m not working. I’m watching Season 5 of The Office and I’m obsessed. I like to watch things that make me laugh, like Friends. Does anything annoy you about social media? I wouldn’t use the word “annoy,” because that’s a mean word, but I get a little confused about it. What do you Instagram and what don’t you? When do you do it and when do you not? The line between real life and the Internet is a bit blurry. What do you keep private? I’m actually a private person. There are things that you’d naturally never put on the Internet, like naked pictures or where I live. That’s a given! What have you been up to this summer? I went to Rome with all the Victoria’s Secret Angels for the holiday commercials, which was pretty awesome. It felt like camp to be with all my friends. I also went to Laguna Beach in California for a few days with my boyfriend, and we stayed at the St. Regis. Are you in New York a lot? I’m here for two weeks at a time out of the month. I travel so much. Sometimes I feel like I’m never here, and when I come here it feels like I never left. It’s a very strange world! Does your dog travel with you? Domestically, and when I travel internationally my boyfriend takes care of him. He’s a miniature Labradoodle named Tate. Does he like Tate’s Cookies? My mom actually bought me some with a sweatshirt that said, “It’s a Tate thing.” I would give him a few, but I don’t want him to get sick from the sugar and chocolate. Who are your model besties? All the VS girls, because we work together all the time! What do you like the most about being a model? I love meeting people and traveling. The whole experience in the industry is exciting, because it all has so much to offer. Because I started out as a model doesn’t mean I have to retire as a model. These days, modeling gives you a platform and you can mold into other things. What do your parents do for a living? My dad is a natural gas engineer, and my mom raised four kids. What’s next for you? I’d like to start a brand or a charity. I’ve always wanted to help people and make the world a better place. I might also work with UNICEF. I still have time to figure all that out!

The line between real life and the Internet is a bit blurry.”

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Anthony Cenname

Publisher of the Year, WSJ. Magazine

THE ART OF THE SELL

From his salad days at Italian Vogue to his current gig as resident rainmaker at WSJ., Anthony Cenname is one of the industry’s most in-demand executives. BY ASHLEY BAKER PHOTOGRAPHY BY GIORGIO NIRO What inspired you to get into this business? I just liked people, and I liked marketing. I love glamorous things. I thought I would be a litigator, but I didn’t have the grades and bandwidth financially to go to law school. I ended up working for Italian Vogue because I speak Italian, and I realized there that I have salesmanship. FA S H I O N W E E K D A I L Y. C O M

How did you learn Italian? My parents were Dolce Vita Italians, and we spent most of the summers in Capri. You’ve been in advertising for a long time. Was it a more straightforward play back then? It was more based on creative and association. Now, it’s more based on audience.

Creative and association is a big part of that, however, back then it was a creative director with an assistant, and now it’s a CMO and a team of 17 people that you need to be able to get to know. What was your first job in ad sales? It was at a yachting magazine owned by Italian Condé Nast—Uomo Mare Vogue, which translates into “the seaman’s Vogue.” We sold more ads in Uomo Mare than they were selling in L’Uomo Vogue and Italian Vogue, so they put me in charge of the division. Did you have any experience with boats? No. [Laughs] Other than knowing how to sail! When WSJ. launched, what were your impressions of it? We could have done better, and we did. When the magazine first launched, it did very, very well. When I became publisher, I said, “We need to make this into the world’s leading luxury magazine. We need to resonate with the consumer of The Wall Street Journal, and have a cult following of people beyond The Wall Street Journal, and have a platform that rivals that of traditional magazines on the newsstand.” We succeeded on all three fronts. How long did it take you? It was fairly quick, because I work for a media titan. Mr. [Rupert] Murdoch is very entrepreneurial, and he takes risks. I have an amazing team, as does the entire Wall Street Journal. With [WSJ. editor in chief] Kristina [O’Neill], we’ve taken it to heights we’ve never really expected. How has that been accomplished editorially? She has a very strong posse of people within the fashion category, and she’s been a fashion editor since day one. Kristina happens to be very much on the pulse of very good covers with a tremendous fashion sensibility that at the same time speak to the success gene of the Wall Street Journal reader. She has this talent of making a millennial feel very credible and a baby boomer feel very relevant. Does that make your job easy? It makes it easier. People always say, “Anthony’s so effortless,”and I think it’s because I’ve liked every single one of the jobs I’ve had. Is there really a millennial audience for this magazine? There’s a millennial audience for the Journal as a whole. We’re a news source, so we’re engaging new people every day. People who read the Wall Street Journal wake up in the morning and ask themselves, “How am I going to succeed today?” And those people are of all different ages. What makes a good publisher these days? A really, really good listener—someone who’s borderline empathetic/sympathetic. Someone who’s solution-driven, but with leadership skills that are better than managerial skills. If you manage people, they don’t like it. You need to

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lead people, give them tremendous accountability, and latch on to what they do positively and constantly reinforce that. What kind of boss are you? A delegator. There is no office in the corner, there is no flying first-class—I fly so far back in the cabin, I’m on the next flight out—and I think that’s motivating to the team. We try to be as proactive as possible, and publishers who can avoid being reactive tend to be the most successful. How do you expect to grow the business? Our women’s fall fashion issue is a core fashion title now, and it’s thick, but it’s not as thick as some of the other core titles, so I’m working on that. And you might see more of WSJ. Magazine in 2016. How competitive are you? Very. But I think being competitive is a fun game. It’s important to have frenemies. Oftentimes, mud will be slung—if slung is even a word—but it’s nice to do it with a white glove and not get it on your hands. Which brands have been most instrumental to your success? This is your opportunity to show some love. All of them. I don’t like to mention one particular brand over another. Notice there’s no watch on this wrist. Watches are a must-buy for our readers, so I don’t like to show favorites. My wrist remains a mystique. Can I tell you our top-10 advertisers in the magazine for 2015? Sure. Of our September issues, the women’s is up 11 percent, and the men’s is up 26 percent. Through the September issues, it’s neck-and-neck between Louis Vuitton and Ralph Lauren, who vie for the first spot. Then it’s Armani, then it’s Hermès, then it’s Chanel, then Tiffany, then Cartier, then Céline, then Dolce & Gabbana, then Bulgari. I owe my success to the best and most successful prestige brands. What do you do when you’re not working? I’ve had a house on the East End since 2003. I’m an advocate of good living and good food. My downtime is exercise, beach, landscaping, and reading books. How did Sharon Stone end up officiating your wedding? She’s been friends with my partner—my spouse now—and me for about 20 years. She kept saying, “You guys should get married.” And then David and I were like, “You know what? We should.” She made it very meaningful. How much time do you spend with Mr. Murdoch? Maybe a half-hour every year. He recently came in the day after I was married, and everyone was shocked to see me in the office, but I wanted to show him the September issue. When he saw me, he came over, as well as Will [Lewis, CEO of Dow Jones and publisher of The Wall Street Journal], and said, “We weren’t expecting to see you.” I said, “Ambition knows no vacation.” Mr. Murdoch loved that line.

Being competitive is a fun game. It’s important to have frenemies.”

ANTHONY’S FAN CLUB “Anthony has a deep appreciation for the editorial process. He’s a magazine connoisseur, and has a fundamental respect for what our journalists and photographers bring to each issue. It’s very telling that he’s still close with all the editors in chief he’s ever worked with—no doubt because he’s so positive and has such great energy. ‘No’ is not part of his vocabulary and that makes for a very compelling leader. Positivity goes a long way in this business. Anthony thinks globally, and over the past year he’s been a major force behind our brand expansion into Latin America. Beyond that, he has a profound grasp of what our global reach means, in terms of readership and for our advertisers. I don’t think it’s luck that WSJ. has had its biggest year ever.” —Kristina O’Neill, editor in chief, WSJ.

“I’ve known Anthony for many years, and he’s always been one of my favorite people and one of the best in the industry. Anthony is honest and straightforward, and he never disappoints. He is very knowledgeable and knows the luxury market well. Above all, Anthony is warm, kind, and friendly, which has become more rare in today’s fast-paced world. His sense of humor is one of his best traits, and his laughter is simply contagious. A great business partner and a wonderful friend, my dear Anthony Cenname!” —Robert Chavez, president/CEO, Hermès of Paris., Inc. “Anthony is a fantastic partner! He immerses himself in our brand in order to fully recognize and optimize opportunities. He is a wonderful blend

of magic and logic.” —David Duplantis, president, global marketing, digital and customer experience, Coach “Anthony has long been one of the most incredible supporters of the brand, and we could not have imagined someone more deserving of this recognition. Anthony’s tireless passion, unparalleled creativity and tremendous dedication has been instrumental to the success of our partnership with WSJ. Like a diamond, Anthony brings a magnificent brilliance to the world of publishing, and it is an absolute honor to continue to watch him shine.” —Federica Boido, global vice president, marketing– jewelry, Harry Winston B FA N YC . C O M ( 3 ) ; PAT R I C K M C M U L L A N . C O M ; C O U R T E S Y

Janice Min and Merle Ginsberg

The Hollywood Reporter, Best Fashion Issue of a Non-Fashion Magazine

REPORTED FASHION

Under the leadership of Janice Min, The Hollywood Reporter has transformed into a high-gloss, heavily reported weekly that is required reading among anyone even remotely interested in the happenings of Tinseltown. The magazine’s annual fashion issue, centered around its Power Stylists list, has emerged as one of its marquee moments, with the 2015 edition featuring an interview with Riccardo Tisci and a cover of Lady Gaga photographed by Karl Lagerfeld. Chief Creative Officer Janice Min and senior style writer Merle Ginsberg explain its ascent. BY ASHLEY BAKER How does your Power Stylists list come together? Merle Ginsberg: First of all, it was Janice’s idea—it’s very much in the tradition of The Hollywood Reporter to do power lists, and we do it for writers, directors, actors. So she said, “Why don’t we do a stylists list? They are, essentially, Hollywood fashion.” And my first response was, “We can’t do that! It’s politically incorrect!” But she looked at me in a very Janice way and said, “Why not?” The criteria comes down to a number of things. It all starts with the way actresses dress on the red carpet. We start with a look, and we work backward. Carol [McColgin, THR style editor and cover shoot stylist], Janice, and I sit down and look at many, many pictures, then we call all the agencies to fact-check, because these actresses jump around

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

[among stylists]. Then we just talk and talk and talk, but it really goes down to the look and the power of it. The status of the actress plays a part, too. Petra Flannery, who topped your list this year, dressed Emma Stone in a Lanvin jumpsuit for the Golden Globes. Was that a personal favorite? Janice Min: Every editor will have their own individual opinions about whether a look worked or not, but sometimes the tiebreakers come down to the impact it makes in fashion—how it was received. All these women are wearing these dresses to have maximum impact—that’s the competition, and recognition from the fashion press is how you win the game. Do stylists or actresses campaign to be in this package? Janice: Completely! There is an extensive campaign that goes on for po-

sitioning on this list. The worst thing of all would be to not be on the list. The top choices are usually fairly logical, and then there is definitely jockeying for position. Merle: Starting the week before, I’ll have a lot of stylists’ agents calling me, saying, “Just tell me the number.” Janice: The anxiety runs pretty high out here. Janice, how have you seen the celebrification of stylists evolve over your tenure at The Hollywood Reporter? Janice: One of the main impetuses for doing this was the Rachel Zoe factor. The stylist names out here are on par with the designer names, because they have the power to transform, and they have access to looks that can turn a regular actress into someone extraordinary. [Stylists] are sort of the Henry Higginses of Hollywood, in that they can completely alter the course of an actress’s career toward the positive. That is as important, if not more important, than anything a studio executive, agent, or manager can do. They’re the power brokers between talent and designers, and they get to decide who wears what, and when. To be a gatekeeper in that regard means everything to the design community. Do you think men are paying a lot more attention to their looks these days? Janice: For the first time, we shot a man in this issue— Channing Tatum with his stylist. There have been times in previous years when we’ve tried to book men, and even though they’re close with their stylists, there was a squeamishness, an embarrassment. That is no longer. There’s honesty about, “I do not fall out of bed and onto the Oscars red carpet looking like this.” There is a team of people to make it happen. Merle: They used to deny it! Janice: And now it’s part of the conversation. How did Lady Gaga end up on the cover? Janice: It was crazy. Like so many things at The Hollywood Reporter, it magically came together at the last minute. Brandon Maxwell, her stylist, was on the list, and one of the ideas was to shoot him with Gaga as a potential cover. They [Brandon’s team] upped the ante—what if it was shot by Karl Lagerfeld in Paris? We said, Okay! And within 24 hours, Carol was on a plane, then sitting there in Coco Chanel’s old apartment, making the shoot happen. Did you get any feedback about what Karl was like on set as a photographer? Janice: Sure. He was very professional, very fast. Gaga and Brandon were very deferential to him. He, of course, kept the gloves on, and did exactly what he wanted. That was no surprise. He’s an art director, photographer, and designer all in one. Merle, you went to Paris to interview Riccardo Tisci for the issue. What was your experience like? Merle: I had been trying to get that interview for about four years. I had gone to Paris before and met with Youssef Marquis, a lovely guy who is [Tisci’s] head of press, and he loves The Hollywood Reporter, and he also, like many designers in Europe, used the stylists list to figure out how to negotiate with a lot of Hollywood people. So every year, he’d go, “We’re getting closer. We’re getting closer.” And this was the right year for Riccardo, because he’d had so many major red carpet moments—Julianne Moore, Jessica Chastain, the whole Kim and Kanye thing. I’m rarely nervous interviewing anyone, but I was nervous because I didn’t know anything about Riccardo, although I knew all his work. He was very chill, very warm, very pleasant, very low-key, and surprisingly modest. The interview took place in Hubert de Givenchy’s couture studio, where he dressed Audrey Hepburn. I was incredibly overwhelmed by that. Riccardo couldn’t understand why that freaked me out. Janice, who is your competition, and how do you feel like it’s evolved? Janice: I feel like we compete with all media, and that’s a good and bad thing— a mostly good thing about the digital universe, and social media in particular. There is no such thing, to me, as a trade anymore, and any good story travels fast and wide. Our hugest stories could be about topics that in a formerly all-

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print universe would not have had a life. We’re competing for people’s attention in all ways, whether we’re competing with television, film, their iPhone, Facebook, Instagram—people here will probably tell you that one of the things I’m most obsessed over are headlines. Merle: She’s the queen of headlines! Janice: Headlines, and every story having a hook or a point that will draw people in. The art of reading or paying attention to something is totally unconscious. The second you have someone saying, “Ugh, I have to read The Hollywood Reporter,” then you’re sort of dead. Do you miss New York? Janice: I don’t miss the weather! I’d like to use my legs again at some point and walk to a restaurant. I miss walking, I miss my friends, but I don’t miss seasons at all. When you’re in New York, you take for granted how casual socializing is. You can see people you know everywhere. “Want to get a drink? What are you doing tomorrow night? Want to have breakfast?” L.A. is vast and wide. No one wants to go out after 5:30. The early bird hour is dinnertime in Los Angeles, which is fine—I have three kids now, and that’s sort of how I live my life regardless. What’s your lifestyle like in L.A.? Janice: I work all the time. The good and bad thing about my iPhone is that you have freedom and the ultimate handcuffs. Merle: I get e-mails from Janice at 2 a.m… Janice: No you don’t! [Laughs] Okay, yes. Have you taken up any L.A. pastimes, like surfing or hiking Runyon Canyon? Janice: There are L.A. clichés that have come into my life. I drive a Tesla, I eat kale every single day, we have a Vitamix at home, where ingredients could include chia seeds and sweet potatoes and other superfoods. I definitely work out more than I would have in New York. But other than that, I don’t have a crystal healer. How have your relationships with talent publicists changed since you moved to The Hollywood Reporter? Janice: Anyone who books anything knows that nothing’s easy. We don’t cave on anything. Reporting on a celebrity’s breakups at Us Weekly versus reporting on large, impactful business news about movies bombing, executive changes— people here understand the business of numbers, and those stories have been easier to do. The Hollywood Reporter has a certain hometown advantage of feeling like Hollywood’s high school newspaper that looks really good and reads really well. Our digital presence is a huge, constantly news-breaking machine, but there is a lovely oldschool publishing moment on Wednesday morning when our print edition is delivered all around Los Angeles. Studio chiefs, Steven Spielberg, television executives—they all stop to see who’s in it, what they should wear, where they should be going…it becomes a nice little one-stop shop for Hollywood. Do you get more irate phone calls now than when you were at Us Weekly? Janice: There are always irate phone calls. You can never escape them. That’s the nature of being in media! What makes for a successful editor in chief in 2015? Janice: A healthy sense of competition and a willingness to evolve. I also believe that in an age of overwhelming information, there is a rush to premium content that will be very valuable to a brand. When everyone has the same information, the links that mean the most for me are from the brands I’ve always known and loved. A powerful brand association is what helps you rise above the pack. There is audience in that, and obviously advertiser draw. Are you still interested in celebrities’ personal lives, if on a recreational level? Janice: I can’t say I was ever interested in that at Us Weekly! [Laughs] That was the funny thing about working there—I never watched The Bachelor or the Kardashians. I felt like I had knowledge and touch for understanding what the stories were that people cared about. What are some of your goals for THR in the next five years? Janice: [Laughs] In the next five years, or in the next five minutes?

I feel like we compete with all media, and that’s a good and bad thing.”

P 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

Imran Amed

Best Digital Destination, The Business of Fashion

CRITICAL FOCUS A longtime fashion enthusiast and a reformed professional consultant, Imran Amed’s essay-focused Typepad blog has evolved into required reading for the global fashion community. After eight years of delivering incisive commentary, the Business of Fashion is expanding its scope even further—and everyone is paying close attention. BY ASHLEY BAKER PHOTOGRAPHY BY THOMAS LOHR FA S H I O N W E E K D A I L Y. C O M

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I didn’t have a specific vision. I just knew that something was resonating.”

How has the mission of BOF changed since you founded the site in 2007? At the time, the mission was to express my personal thoughts and reflections about a business I knew very little about. I was a reformed McKinsey consultant who was just dipping my toe in the industry, and so the mission of BOF was really to act as a creative outlet and a forcing mechanism to take the ideas that were bouncing around in my head and somehow structure them and express them in a way that was cogent and insightful. I wasn’t trained as a writer in any professional sense, but I used to keep a personal journal when I was growing up, and I always found that writing things down helps me to organize and clarify and crystallize my thoughts. Over the years, as BOF and its audience began to grow, it started to become clear that people were interested in this personal perspective as well as an analytical perspective. I started investing money in it—my own money—to create a brand identity and start building a very small, part-time, cobbled-together team. But even at that stage, I didn’t have a specific vision. I just knew that something was resonating, and I was really enjoying moderating the conversation about the state of the fashion industry, which was in the midst of a massive disruption on several fronts—the financial crisis, the digital and technology revolution, and changing consumer behavior around themes like sustainability and ethics. Were you thinking of it as a business? At first it was more of a way to support my consulting business, but when I realized that this passion project had been building into a real thing of value, I thought about taking the community, brand, and voice and turning it into a business. What’s the mission now? To act as a processional resource for people working in fashion. We’re still in the really early days of that journey. What are traditional business-to-business publications doing wrong? Without denigrating the competition, we really think about our engagement with our community. We spend a lot of time listening, basically. I’m constantly getting feedback from this community and listening to how we can continue to create value for them. In today’s media landscape, where there is so much noise, we clear the clutter and the noise to provide a curated offering of content. I find a lot of big, more traditional media companies’ solutions are to create more and more and more content. At BOF, it’s not about adding more, because frankly people don’t have time to read more. What people want is information that will help them in their day-to-day work. You’ve recently made several high-profile hires, such as Tim Blanks, who’s heading up your show coverage. Why Tim? I grew up in Calgary watching Tim on Fashion File every week. When I first started working in fashion, I was introduced to him, and over the years, we developed a professional relationship. How did you sell him on your vision? I didn’t really sell him on BOF—my job was to sell him on the opportunity to maintain his point of view in the industry and to offer a place where he could continue to provide the kind of opinion and critique that he’s known for. What inspired the decision to focus on runway reviews? You can’t really be a complete resource for the fashion industry without addressing the creative side. And while the purpose of fashion shows is still in flux, they remain a very important part of the way the industry engages with the creative side of the business. I believe that fashion show imagery is commoditized. It’s everywhere, but what gives it value is the context, meaning, and opinion you can put around those images. I felt that we could add something to that conversation around Fashion Week. We won’t be covering every show or every collection—just the ones that we think matter. What’s your business plan? There’s a very interesting opportunity in business-to-business, but perhaps it’s not monetized in a traditional advertising CPM-based impression model. The way we’re thinking of monetization of BOF is twofold. The first is links to sponsorship and partnerships, primarily B2B businesses that want to reach our influential

community of fashion insiders. These companies are chomping at the bit for ways to get their message in front of the right people. And with our targeted, focused reach, we can offer that. Working with those kinds of partners across events, digital, social, video, and print, we can offer an interesting multiplatform approach. The second main source of revenue is coming from corporate subscriptions—not to content but to products. Our first product is BOF Careers, which is a market for talent in the fashion industry. What inspired that launch? There was no single place to go to find the best talent in the industry using technology, and it seemed like a very clear opportunity to us. We have a talented, smart, visually savvy community that comes to us every day, and we also have great relationships with all the businesses that are looking for talent. There is value in connecting those two different segments of our community. You also announced the appointment of Tom Florio to your board. How do you see his role playing out? Tom and I first met in 2010 at a conference. He introduced himself, and gave me a little nudge and said, “I really like what you guys are doing. Keep it up.” We built a relationship, and since then he’s acted as a kind of mentor and cheerleader. Bringing him onto the board has just been more of a formalization of that ongoing advice, encouragement, and kind of expertise. How big is your team? It’s changing all the time, but it’s between 30 and 35 people around the world. We just made our first hires in China and New York. What are your day-to-day responsibilities? We have four main teams—editorial, PR and marketing, technology and product, and then commercial and business developments team. I work actively with them all on a daily and weekly basis. I think a lot about the technology and the product. Probably technology was my biggest blind spot, but I have done every single job in this business except code. Who’s your favorite person to sit next to at a show? Suzy Menkes, because she’s always whispering things into my ear that make me laugh. How has your closet changed since 2007? Well, I was a McKinsey consultant for many years, and there was kind of a corporate uniform that I had to adhere to while I was working there, so I had to wear a suit and a tie and shirt almost every day to the office. There was a slightly more casual vibe that began to creep in in the later years. Now, I get to be a lot more expressive. I still wear suits, though.

The Business of Fashion covers everything that is happening in our industry with intelligence and wit. It is also extremely efficient—the website aggregates the most important content from publications around the world. Imran has incredible instincts—he sees what is happening right now but also what is about to come. He recognized early on that the fashion industry had to embrace digital innovation. —Tory Burch B FA N YC . C O M ; A L L OT H E R S C O U R T E S Y

Laverne Cox Maybelline New York “Make It Happen” Award

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

LAVERNE’S

TURN

When Maybelline wanted to honor a woman who is making her life happen, they couldn’t think of a better choice than Laverne Cox. The Orange Is the New Black star sat down with The Daily to reflect on her career-making moments and how she knew she was born to be in front of the camera. BY EDDIE ROCHE You presented at our Fashion Media Awards last year—and now you’re a winner! I was blown away last year. That room was incredible. Every fashion heavyweight was there! Tom Ford! Naomi Campbell! It was major. I had a “What am I doing here?” moment. I was so honored that Carol Lim and Humberto Leon from Kenzo asked me to present. They’ve been so generous to me. Now I can’t believe that Maybelline wants to honor me. Their slogan is “Maybe she’s born with it.” Were you born to be in front of the camera? Yes. [Laughs] One of my favorite pictures from childhood is when I was 6 and it was Christmas morning. I got a walkie-talkie and I was in my pajamas and I’m posing and I’m giving it. I didn’t like candid shots when I was a kid, and I still don’t. I want to pose! I’ve been doing that very instinctively my whole life. I do believe I was born to do what I’m doing. When I was struggling for many years, I knew in my soul that I should be doing film and television, but there was no black trans person who had a mainstream career as an actress. I was like, Are you crazy? My brother always believed in me as an actress and thought I should do my own work, like a one-woman show. It’s so affirming to be in the space that I’m in now after knowing in my gut that this is what I should be doing. Do you have a motto? Several! Right now I’m doing the Oprah and Deepak Chopra 21-day meditation challenge, which is all about gratitude. Even before the challenge, gratitude was a huge part of my life. Gratitude, acceptance, and awareness are the three big things I stick with every day. And trying to tell the truth to myself as much as I can. What are you feeling grateful for these days? I’m grateful to have a roof over my head and an amazing agent and publicist. I’m grateful for my mother and my brother. I’m grateful for my Fendi bag that I got in Paris. I’m grateful I got to go to Paris for the first time this year to promote Orange Is the New Black. How was that? It was a dream! I grew up studying classical ballet and opera, and I was obsessed with the culture, which started in Paris. There’s so much history in Paris. I didn’t have enough time to explore the city, but it was just magical. It makes me want to learn how to speak French better. I know about six phrases! When did you feel like things really changed for you? Two years ago. Orange Is the New Black kicked off in June 2013, and my life will never be the same. It was a slow burn. The show was an immediate hit, but things shifted when I did my Katie Couric interview with Carmen Carrera in the first week of January 2014. It went viral with the media saying you “schooled” Katie. That was a phrase that other people used. Do you think that was a fair assessment? To reiterate, she basically asked Carmen Carrera about her genitalia, and Carmen said she didn’t want to talk about it. I then came out to do my segment, and Katie said to me that Carmen has a problem talking about it but wanted to know my thoughts. I told her that understanding the history of the way that trans people have been featured in the media for the past 60-plus years, the focus has been

about transition and surgery. I believe that objectifies trans people and becomes the only take-away. I understand she was asking questions that journalists have been asking trans people for 60 years. I had never watched a moment on television where a trans person challenged those kinds of questions. How did she take it? What was beautiful was the way that Katie was able to receive it in the moment. We shot the interview months before it aired and she could have taken it out, but she chose to keep it in and have an educational moment for the public. She went back on the show at another time and talked about how it was a teachable moment for her. She went a step further and came up to me at an event and told me she was doing a show on her favorite guests and I’m one of her favorite guests. I was so moved by that. She had me back and we all worked hard on producing a show that talked about the real issues that affect transgendered people’s lives. There was a lot of love and empathy there. It was a beautiful moment.

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My first Essence cover was huge. Being on the cover as a black trans woman was epic for me.”

What were the other big moments where things shifted for you? The Time magazine cover, which happened in May [2014] on my birthday and the day after I got a Critic’s Choice nomination for supporting actress for Orange. That was so big for me, too. I’ve been acting for a long time and going to auditions and really trying to get better at telling human stories, so it was such an honor. A month later I got an Emmy nomination. My first Essence cover was huge. Being on the cover as a black trans woman was epic for me. I ended the year with a Glamour magazine Women of the Year award. A lot of amazing moments happened in between, but those are the things that stick out. What do you do with your covers? Time magazine is the only one that I’ve blown up into a poster that hangs above my bed. I want to do a collage, but I haven’t gotten around to doing it. I need to get an assistant. That’s something they can do! I always save the magazines and make sure my mom gets them. It’s a big deal for her whenever I’m in a magazine or on TV. It’s a big deal for any once-struggling actress. I’ve consumed pop culture my whole life, and to be a part of it is pretty awesome. I don’t come from a privileged background. My mother was a teacher, and education was really important to her. What makes me special is my mind and my talent. Do you think “How did this happen to me?” or “This is exactly what should be happening to me!”? Both! I understand that for black trans women, our lives are often in danger just for being who we are. This kind of success is rare, but I have worked my ass off and I’ve been very intentional with my choices. I’ve also been really lucky. Who would have thought a Netflix show would provide this platform for me? I didn’t! B FA N YC . C O M ; E V E R E T T C O L L E C T I O N

Goga Ashkenazi Best Fashion Advertising Campaign, Vionnet

GO GETTER Much has been written about Vionnet’s owner Goga Ashkenazi. The Kazakhstan-born Oxford graduate made her fortune in the oil and gas business before setting her sights on the fashion industry. For the past four years, Ashkenazi has been working to rebuild the house of Vionnet, which was no easy task given the brand’s esteemed history. Her credo is to honor the heritage behind the brand, while telling the story of its future. Her evocative campaigns have married the elegance of the plissé, made famous by Madame Vionnet, with the essence of the powerful women Vionnet targets as its modern clientele. To that end, the Fall 2015 campaign, shot by Dylan Don and starring Anna Cleveland, just might be the best yet. Here, Ashkenazi explains her vision for Vionnet. BY PAIGE REDDINGER FA S H I O N W E E K D A I L Y. C O M

Why Anna Cleveland? I had met Anna personally in Paris. She was a guest of Vionnet at an event we did during Fashion Week, and we met and really clicked. I saw her at Jean Paul Gaultier’s final ready-to-wear show, and I don’t go to many shows, but this was, of course, the last one of such a master. I was just really struck by the way she walked and the way she moved. She truly encompasses everything that the Vionnet woman is, which is pure elegance. I can tell you this won’t be the last of our collaborations. What was the inspiration behind the campaign? I went to the Horst P. Horst exhibition at the Victoria and Albert Museum in London, because my sons are in London and I travel a lot between the two cities. I went there with my children and I was really inspired by these photographs, some of which featured women in Vionnet, and they had on display nine of the dresses that had been photographed. Two of those dresses were by Madame Vionnet. I knew, of course, that Horst P. Horst had photographed many women in Vionnet. I wanted to take that as inspiration from our past and marry it with the quirkiness of our modern take on fashion. Of course, Anna couldn’t have been better for this. She has a very classic elegance, but her features are unusual. She’s a beautiful girl, but not a standard beauty. How did you first start working with Dylan Don? He’s a very close friend of mine. In a way, I’m trying to create a creative dialogue around Vionnet. I want to give chances to unknown photographers and people who are trying to fulfill their creativity in this business, which I’m sure as you know isn’t the easiest thing. He’s very talented, and we’ve worked together on the last three campaigns. How did you first meet? He was introduced to me by a close friend of mine to stay in Villa Vionnet during the Cannes Film Festival a few years ago. So he was the guest of a guest, but we became very good friends. How do you choose the looks for the campaign? In one of the shots, the dress is actually a top and it’s missing the back. It was the most immediate choice, because we wanted to photograph it from the back. It was one of the most beautiful images from the shoot. There was only one color image, whose movement takes inspiration from the photographs of Isadora Duncan dancing in Vionnet dresses in the ’20s. That dress has meters and meters of fabric and the plissé of the fabric was invented by Madame Vionnet. The skirt on the dress is quite spectacular. Who else was behind the campaign? We shot in a studio in Milan, and everything was done as a family internally. We used the same Italian hair and makeup team that works with me. They’ve become friends, and I work with them quite a bit. The creative director was Babeth Djian and the art director was Julien Gallico. How long does it take you to select the final images? It’s funny you should ask that. I have the most terrible time doing it, because there are so many beautiful images. When Dylan comes to Milan, he stays with me and we look through the images, so he was completely available to me. That’s the great thing about working with a friend. We just had dinner together and looked through all the photographs. I spent at least five hours looking through the images. It’s very difficult to choose from them. You look at each one and you say, “No, but I love this one!” I think I gave 30 images to the retouchers. It was quite a process, I tell you. You started your career in the energy business. What has surprised you about the fashion business? My parents sent me to Oxford, which is fair enough, because they wanted me to have an education that would earn me a tangible salary. I went into the energy

business, because there was a lot of opportunity that presented itself and I have to say, I don’t have any regrets, but fashion was always my passion. However, a few things surprised me about the fashion industry. The first was that it was as hard if not harder, at least for me, as the oil and gas, gold mining, investment banking industries, and all of them put together. Second of all, people are extremely passionate about what they do. No one has come to me and said, “Goga, it’s the end of the working day. I need to go.” This kind of dedication is unmatched in any other kind of business that I’ve seen before. But thirdly, I was running away from politics in the energy business. However, it really surprised me how much politics are involved in the fashion industry. There are more politics than in politics. What’s been the most rewarding part about reviving Vionnet? The most rewarding is when I see beautiful women on the inside and out wearing the Vionnet dresses, and when Vionnet gets the appreciation that is worthy of the name. You can imagine that taking on a brand like Vionnet is much more strain on a person than just starting a line and calling it your name. You have the responsibility of the amazing work that was put into it before by the most incredible and talented Madame Vionnet. Now our work needs to be worthy of all that tremendous talent and heritage. Who have been your biggest supporters in the industry? Stefano Tonchi has been one of our biggest supporters. He’s been a friend since before I went into fashion, and I love W magazine. Carine Roitfeld has also been an extremely close friend and support. Babeth Djian, Olivier Zahm of Purple magazine, Fabien Baron of Interview, and Glenda Bailey of Harper’s Bazaar have all been extremely supportive. There are quite a few people we are very grateful for. What is something that people don’t know about you? Oh, my gosh, there’s so many things that people have written that aren’t true. There’s too much that’s been written about me that I think is unnecessary regarding the size of my house or how many people work for me. When I read about it I get angry with myself for allowing the media to see this. So I think it’s important to be more private, but I would like to think there are quite a few things that have not been written about me that are reserved for my friends and for my inner circle. I’m very social and I love being around people. I think that maybe not everybody knows that I very much enjoy my work and that I’m here from the early morning until the very late evening. I’m not somebody who sits at home and who came into this business just to speak to the press and do nice photo shoots. I just enjoy the process of creating clothes. How is the demi-couture line doing? We established the demi-couture line for our hundredth anniversary, and we have now incorporated this into the main line. It’s a capsule collection that we don’t show on the runway, but we show to clients. I want to make couture a little bit more affordable. It’s still a luxury product with couture techniques. In today’s world, I find that perhaps spending hundreds of thousands of dollars on a dress is a bit excessive for my woman, no matter how much money she has. What’s next for Vionnet? We’re about to open a new flagship boutique in Paris on Rue François 1er. Of course, Madame Vionnet had her aetelier at 50 Avenue Montaigne, which would have been ideal, but it belongs to one of the big corporations that I can’t compete with. We’re going to try and create a little Vionnet hub. We are going to have a demi-couture designated area and an atelier, and we also created a new concept inspired by our heritage, which will have a technological twist. At the same time as the store opening in Paris, we will also be starting e-commerce. I can also tell you that I’m just in the final negotiation stages for a store in New York City, so that’s my next priority. WAY N E M A S E R ; C O U R T E S Y

QUITE THE CHARACTER Brand collaboration trailblazer Brian Robinson brought big designers to Target and JCPenney. Now he’s breathing new life into DreamWorks Animation with irreverent fashion collaborations. Who knew cartoons were so chic? BY TANYA ROMEYN Forging sizable fashion partnerships is Brian Robinson’s bread and butter. Long before most big retailers could even utter the word “collaboration,” Robinson was spearheading the movement as the director of fashion and designer partnerships at Target. The 41-year-old Louisiana native brought us jewels such as Missoni, Jason Wu, The Webster, and Odin for Target, and later, as JCPenney’s VP of marketing, he created Duro Olowu for JCP, Pearl by Georgina Chapman, and L’Amour by Nanette Lepore. Now, Robinson is the head of creative for design and development at DreamWorks Animation. For the inaugural New York Fashion Week: Men’s, he partnered with the CFDA and Amazon to launch a limited-edition Character Clash collection—irreverent tees and hoodies, featuring old-school cartoon characters including Felix the Cat and He-Man, designed by the likes of Billy Reid and Jeremy Scott. Intrigued by his entrepreneurial flair and pioneering spirit, The Daily hunted down Robinson, fresh from vacation at his lakeside retreat in northern Minnesota, to talk about fashion and DreamWorks. How was your retreat between Fashion Weeks? It was a mix of jet-lag recovery, failing miserably to wakeboard, and mounds and mounds of homemade ice cream. I started reading a new book, The Chimp Paradox, and made a pact with a friend to buy old typewriters and start writing to each other. It was 40 degrees and raining—some of the best cabin weather there can be! We binged on Mr. Robot, Kingdom, and Humans. All three are amazing! How did the CFDA/Amazon partnership with DreamWorks come about? We’re always looking for new ways to tell stories with our characters, and fashion—and the amazing ecosystem that surrounds it—serves as its own form of “content” with its own built-in content channels. CFDA approached us about supporting the first men’s week, and we jumped at the opportunity to bring DreamWorks characters to life in a unique way. We developed this Character Clash concept to challenge and inspire designers to write a new story. With Amazon already onboard as the presenting sponsor of Fashion Week, it was an easy fit for us to align on the retail component. They are an amazing partner. Do you expect this to be an ongoing relationship? Definitely. Even before the men’s shows began our wheels were turning on what’s possible for future seasons. How does Fashion Week play out in the DreamWorks strategy? We see the DreamWorks family of characters as a reflection of culture and when we seed them as part of culture, they bring amazing energy to the DreamWorks brand. Being able to jump into collaborations with Todd Snyder, Ovadia & Sons, Michael Bastian, Public School, and others all at once provides this amazing burst of energy to the characters, as well. How did you select the designers for the Character Clash collaborations? We worked with CFDA to approach designers who were already participating in Fashion Week. Because we were using the same silhouettes across all the pieces, we needed an eclectic group of designers who would bring their unique aesthetics to their designs. The eight designers who came onboard helped us accomplish exactly that. Which of the designs are the hottest sellers on Amazon? With such a fantastic cross section of designers and characters, we saw them perform fairly equally across the board. The hoodies, in particular, were a hit. How do you think New York Fashion Week: Men’s did overall? I think it was a huge success. CFDA executed a flawless series of shows and I can’t wait to see how it grows for future seasons. My favorite thing was definitely the vibe—it was amazing. It was relaxing, while inspiring; it felt collaborative and inviting, all while feeling sophisticated. Personally, I find when folks like Steven [Kolb, the CFDA CEO], and his entire team, take a chance on something as big as FA S H I O N W E E K D A I L Y. C O M

this, the only thing they need to hear is more encouragement to do it again, to take such a big risk, and succeed yet again. Which was your favorite show? Public School! The show was pure theater…and maybe because Dao-Yi Chow might have worn the Public School x Underdog hoodie during their presentation! Best thing you ate? Crudité at Cafe Clover, and just about everything else on their menu for summer. Did you work out during the shows? Barry’s Bootcamp! Nothing says

Public School’s Underdog hoodie

With Steven Kolb

Public School’s Dao-Yi Chow

“Wake up and conquer the world” and Maxwell Osborne like Barry’s. Do you have plans for the women’s shows? We’re constantly exploring opportunities to leverage our incredible family of characters in women’s fashion. Our experience with NYFW: Men’s definitely got the ball rolling on some big ideas for future collabs. I’ll be in New York for Fashion Week. The goal is inspiration: people, places, tastes, interactions, and experiences. ALL PHOTOS COURTESY

THIS LAND IS HER LAND Federica Marchionni cut her teeth in fashion at Dolce & Gabbana in Italy, and now, she’s moved on to become the new CEO of one of the quintessential American fashion brands, Lands’ End. BY KRISTEN HEINZINGER PHOTOGRAPHY BY GIORGIO NIRO What’s your professional background? I wanted to have this role since I was very young. I chose a fast-growing industry first: telecommunications. Samsung hired me. Then the general manager of Nokia, who had led a joint venture with Samsung, moved to Ericsson, so I followed him. I was young but very determined. While I was going to Stockholm, I met Mr. Dolce and Mr. Gabbana on a flight, and it was destiny. When we introduced ourselves, I asked them what phone they use, and they said Motorola. I said, “I’ll send you a phone; if it doesn’t work, you call me back.” They called me, but they said we would like to talk to you about working together. I did not have any idea what they wanted from me. I always had a passion for fashion, but I never thought that I could possibly work in that environment. When I met with the CEO, I told them the best way to get global. And so I started in fashion. How did you end up at Lands’ End? My dream was to be in America. [Dolce & Gabbana] wanted me in Italy. Ferrari called me, so I went there, and it was very exciting, but then Dolce called me and offered me New York if I came back. There was no company I would stay for with that offer! And then Lands’ End called. I used to buy my son’s school uniforms from them, and I had a great impression of their customer service. Their heritage and values are exactly the same as mine. What changes have you made since you started? The first thing I did was an assessment of the business. I’m very analytical. Reading behind the numbers is key because sometimes they don’t really show what is successful. The next priority was definitely the collection and product. I don’t think we should believe that we are a trendsetter, but we need to be on trend. Then I wanted to make sure that our customers were more engaged with us. What appealed to you about the Lands’ End story and its founder, Gary Comer? He was an environmentalist. We always had sustainability—we work with the National Forest Foundation and have the “Lands’ Friendly” initiative—but I wanted to amplify that. I had us reduce our carbon footprint—for example, the new catalog is made of 100 percent recycled paper. We recycle wood to make our office furniture. Mr. Comer always wanted to give back, and his approach was that you take care of your people and customers, and the business takes care of itself. He was a sailboat racer. I used to sail, not at his level. I understand his love for nature, his vision, why he called this brand Lands’ End, and what he wanted it to be. How has the brand evolved over the years? It started with sailboat equipment and some apparel. Then the founder started to bring in more apparel. He was the first apparel retailer to introduce the tollfree 800 number and e-commerce. He was always ahead. I received a note from a woman who saw my letter in the catalog, saying that she still had a letter FA S H I O N W E E K D A I L Y. C O M

from Mr. Comer from 1971. I started to do the same, and I didn’t even know about his letter. It’s like we are connected! We want to build on his legacy, and I want to make it a global lifestyle brand—that’s the goal. What can we expect this fall in the new collection? Our sweaters are key, as is our men’s T-shirt program, which offers different fits. But the most important category is outerwear. We have it for the transitions between seasons, and we have a serious winter jacket. The company, being based in Wisconsin, knows what cold means. We have an amazing collection for kids— and strengthened knees in the pants for boys, so that they don’t break. For women, I’m a big fan of the activewear. And we provide fantastic products for the home. How are you liking Wisconsin? It’s a return to my roots! I came from a little village of 500 people outside of Rome, so I really understand their warmth. What’s something that we might not know about Lands’ End? On our social media, people can post things that are shared internally for us. Every day, we receive the most beautiful things from the consumer. These messages are distributed to the entire company from the HR department. It helps to stay in contact with the consumer and see their feedback. Every day, that’s my “good morning.” INSETS: COURTESY

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ASK OUR NEWSSTAND GUY! Checking in with fashion’s favorite newsstand guy for a catch-up has become a Daily tradition. What does our buddy Manish Golchha from West 37th Street’s Magazine Café think of your September issue? We recently stopped by his store, and this time we got a little personal! BY EDDIE ROCHE PHOTOGRAPHY BY STEFANIA CURTO

What’s new in your private life? Your readers are probably connected to me now that I’ve done five interviews with you. They are! The personal life is divided between family life and work. I have a young daughter who is 3, so I’ve been busy with that. You’re married? I am! Who knew? Let’s talk September titles! As usual, Vogue is selling the best. It keeps on getting bigger. Beyoncé is an awesome cover choice. She adds that star value. She has a huge fan base, and everyone seems to love her. Did you know there isn’t an interview with her inside? What’s that about? What about Katy Perry on Harper’s Bazaar? It’s doing pretty well. It seems like a good value for the money, and the issue is thick. Katy is also very popular. Bazaar has been flying off the shelves. How’s TV Guide doing with Miss Piggy on the cover? We don’t sell too much of TV Guide. We’re in the fashion district. Our customers demand fashion. Miss Piggy on the cover of Vogue could be interesting, but not for the September issue. W is also constantly doing good. It slowed down a little last year in this store, but the past six months have been solid. I don’t have my glasses on today… Can you read me Cosmo’s coverlines? Hot Sex Tonight! The No. 1 Way to Bring You Closer. [Laughs] It’s targeted to young adults. That’s what sells. They always have sex-oriented covers. Some stores are going to start covering Cosmo due to the sexy covers. No way. Come on! There’s no nudity in there. It’s just the headlines that are a little racy. I’m totally against that. I don’t want that at all! Love magazine has C-3PO from Star Wars on the cover. How’s that going? The Love cover that we’re selling the most of is Cher. It sold out. The rest are still doing good. How’s Nylon doing with your girl Kristen Stewart? Are you still crushing? I wouldn’t call it a crush, but I definitely still like her. She’s looking hot on the cover. It’s doing pretty good. Elle has also been solid since day one. Allure has been lukewarm. Glamour is fine. Thoughts on Redbook putting real women on the cover instead of celebrities? FA S H I O N W E E K D A I L Y. C O M

Come on! That doesn’t sell the magazine. You’ve got to have some star value to it, or models. Let the professionals do their job. What other non-fashion titles are doing well? Condé Nast Traveler and Travel + Leisure. Oprah always sells. What intel have you heard about the future of Details? I haven’t heard anything. It would be a shame if it went away. Though we don’t sell a ton. They do have some pretty models on the cover. It’s a solid publication. How did Caitlyn Jenner’s Vanity Fair issue do? We sold out! I was calling distributors left, right, and center to get more copies. It was one of the biggest stories of the year. It was a scoop. That’s what we think! It wasn’t a complete surprise to me that Bruce became Caitlyn. You also sell lottery tickets here. Has anybody won big? We just had a $25,000 winner. The biggest has been $60,000. What do your fashion customers play? It’s primarily the non-fashion people who are playing, but the fashion people like to buy the Monopoly scratch-off tickets. Would you care to try your luck? By the way, did you notice that we remodeled our store? Doesn’t it look more roomy when you walk in? People really like it. Gotta make the customers happy! Exactly! We’re selling more snacks. Which snacks sell? People are very health-conscious these days, especially in the fashion industry. There’s a lot of people eating almonds and nuts. Protein bars do well. Have you tried the Kind bar? It’s awesome. It’s gluten-free. What more do you want? How many trees do you think were killed to keep you in business? On a weekly basis? No comment on that! That’s negative publicity. What else is new with the store? We’ve updated our website, and we’ve launched an app so people can order magazines on the go. Look at you! All grown up! The last interview we did got so much exposure. Everyone read it. Friends, family, and even my customers in California. A star is born! That TV deal is coming any minute. I’m keeping my fingers crossed!

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