TOP ROW, FROM LEFT: IVAN BART IN , JULY 201.3. JEN RAMEY. KYLE HAGLER. LOUIE CHABAN, FAITH KATES IN NEWYORK JULY 2013 BOTTOM ROW.FROM LEFT:CHRIS GAY.DAVID BONNOUVRIEB.DIDIER FERNANDEZ.PAUL ROWLAND AND JOHN GNERRE INNEWYORK, JULY 2013.

322 EÑTS 10. BEHIND emw SUCCESSFUL , THERE IS a TIRELESS AGENT WHWOO ü CCONSTANTLO Y DRAFTED INTO A WIDE RANGE of ROLES. FROM SSHOOTESHARPSHOOTERR ANANDD WHEELWHEELERE - DEAJ.ER TO BEST FRIEND aiid PROTECTOR, TO COACH, CONFIÜANT, PSTCHOLOGIST, PARENTi\L GVlJM.and BRAND STRATEGIST TEN ÚF the INDUSTRY S MOST INFLUENTIAL PLAYERS OPEN UP ABOUT THEIR LIVES AT the INTERSECTION OF BEAUTY and BUSINESS JHEIR OWN PATHS TO GLORY, AND WHY THE JOB ISN T ÍUST ABOUT FLYING AROUND THE WORLD IN SEARCH o/FRESH- FACED GIRLS, STEERING the CAREERS OF MONONYMOUS ÜBER WOMEN, AND GOING to EXTRAVAGANT PARTIES— ALTHOUGH, TÉERE S ALL THAT, TOO. Bu DAVID COLMAN Photography STEVEN PAN Styling VANESSA CHOW

323 "UNLESS YOU REALLY LIKE ACTING, DON'T EVEN TRY. MOST PEOPLE THINK THAT A TOP MODEL IS GOING TO GO INTO THE WORLD OE ACTING. WELL. I SAY, YOU BETTER BE GOOD."

IVAN BART IMG MODELS

IVAN BART: Before you start asking me quesdons, everyone's personal history and their perspecdves on grew up in Bensonhurst It's actually not 6r from the Ver- I hope it gets stated in this thing that, for the record, how the modeHng business has changed over the last raaano Bridge. It's stiH fim to go on a summer night to ride that I didn't want to pardcipate. 20 or 30 years. It's not about who has a better agency. the Cyclone—sdU, to this day, it's the scariest thing. DAVID COLMAN: Okay BART: That's fine. But when you put compedtors COLMAN: So I you grew up wanting to make BART: Because—and this is key—^I always feel Hke our in a room ... It would be the same thing if we were it in New Ysrk? work is really about our cHents. It's not about us. There doing a story on Interview, Vanity Fair, V Magazine, BART: I really was very confused for a long time seems to be a big push for me to parddpate. Also, for the and Vogue. One would feel Hke, what are their per- about what I wanted to do. I thought I wanted to record, I want to say that I'm vety proud of some of the specdves and how do they compare? So it is what it is. be a psychologist, so I have a psych degree. Then I managers that are at IMG who are being featured but COLMAN: I don't think the average reader knows took time on to try to figure it out, and I did what a also I want it to be stated that it's really about the global enough about the differences between modeling agen- lot of people did, got a backpack and toured Europe team of IMG Models—^its five offices. I feel where we des to actuaHy evaluate, "Oh, weH ... It's a compeddon." for a while. I realized I didn't want to be in clini- outweigh our compedtors is the feet that we do have a BART: Which is even more key as to why I want the cal psychology. I didn't want to deal with people's network that's very strong and is in au the fashion capi- consumer to understand that we are the best [laughs] pain every day. I wanted to be in something that was tals: New York, , Müan, Paris, and now Sydney. We work hard. We take our jobs very seriously. Man- a Htde bit more Hvely, exciting, fun. I started doing We're very connected and we work weH, and by featur- aging talent and managing it weH is what we do daily. PR, and this PR firm had a very small modeling ing some of our managers, it's not to say that there aren't COLMAN: How did you get into the modeling industry? firm attached to it—^this was in 1986—so I took my many, many more of equal importance. BART: I was raised in Brooklyn. I'm a Brooklynite. I'm opportunity to work at this modeHng firm and learn. COLMAN: The story is more about getdng a flavoro f very happy that Brooklyn's getdng its hipster moment I I started representing (CONTINUED ON PAGE 347)

324 "PEOPLE THINK IT'S JUST EASY-PEASY—GET YOUR PICTURE TAKEN. AND IT'S REALLY NOT'

JEN RAMEY IMG MODELS

DAVID COLMAN: How did you end up in the to come around—Mario was stiU a model with Men. happened. Kate was in it—she was completely sick modeling business? He used to come eat lunch and fall asleep on our couch. and had the fiu. Those days were so fun. You'd stay JEN RAMEY: I was a high school dropout from Mar- Then he started taking pictures and went to London and out undl five in the morning and come to work at ietta, Georgia, doing a bunch of jobs here and there, brought a Utde girl called back Paul was her nine. We were on Greene Street and Marc was on and I started dating a male model. I went to a barbecue agent and basicaUy treated me Hke shit, so I was wash- Spring Street. We used to go over and have beers at his agent's house, and they were Uke, "Do you want ing windows and emptying garbage and stuff. But Kate and eat pizza and look at fabrics. Everybody was a job?" I was Uke "Okay." You got to wear what you and I hit it off and became friends. We kind of grew up sdU having a good dme and being creadve. Every- want, hang out with people your own age, and talk on together because we were both new. It just worked out body loved Kate so much. I lived a lot through her. the phone—^what could be better? But I did want to get COLMAN: This was in '92? COLMAN: Where did you two Uve? out of Georgia, so I moved to Chicago. I worked there RAMEY: Yeah, I was there for more than a year RAMEY: On Waverly Place. Two fioors and a roof for two years, but there wasn't really much of a fashion before Kate showed up. Kate and I did everything garden of deliciousness. Carolyn Bessette lived on thing going on there, so I figured I had to go to New together—traveled, hung out, Uved together. She was the first floor. Kate used to Uve in the back house. It York I had three interviews set up, and I met with Paul quite shy. She wasn't Kate Moss, she was just Kate. became such a place of fun and pardes and fairy Ughts Rowland at Women and worked there for forever. T"hen I quit Women. Or was fired. I'd had enough. and big piUows aU over and carpets on the roof... It COLMAN: WTiat girls were there at the dme? COLMAN: What was fashion like at the dme? was so much fun. It just was happening. RAMEY: Robyn Mackintosh, Cynthia Antonio, Shana RAMEY: Those were the times of Christy, Naomi, COLMAN: What other girls did you work with? Zadrick, Michèle Quan. It was, like, four of us around a Linda. Then grunge hit with the - RAMEY: Emma Balfour, CeciUa Dean ... card table. Mario Sorrend and his brother Davide used Perry Ellis show. Nobody knew what it was when it COLMAN: Cecilia is (CONTINUED ON PAGE .347)

325 "YOU WILL NEVER KNOW WHY YOU GOT THE JOB OR WHY YOU DIDN T. THE CHOICE COULD BE BASED ON AN EXPERIENCE THE CASTING DIRECTOR HAD AS A CHILD. IT COULD BE BASED ON MOVIE THEY SAW OR A BOOK THEY READ."

KYLE HAGLER TMG MODELS

DAVID COLMAN: How did you end up in New York? I took it more seriously than I think I needed to. I new guy at IMG, and he was shaking things up and KYLE HAGLER: I was bom in Orange, New Jersey, flew on my o'wn dime to New York and asked for making things happen. I met with him, and afrer a to a single mom who was going to med school while meedngs at adverdsing agencies and talked about couple of hours, he said, "We would love for you to I was gro'wing up. It was not a fasliion environment changing the paper quality and hiring models for start here in two weeks." I accepted on the spot. at all. But I was drawn to fashion—hyper-interested random photo shoots. This was for a small coUege COLMAN: What did you start doing there? Who in models and what they were doing. At that dme, magazine! I dealt a lot with Elite in Atlanta. But were the girls you were working 'with? it was Naomi, Linda, , Christy Turl- then they killed the fashion secdon. HAGLER: Afrer about six months, I was moved to ington, ... There was a lot of COLMAN: So you kept going in fashion afrer that? their development board, where I found myself on tele'vised presence of fashion and models and House HAGLER: All through college, the goal was to scoudng trips around the country every weekend of Style. I would go to the city and sneak into night- become an entertainment attorney. Then I reaUzed looking for new talent and managing brand-new clubs in high school, to places Uke the Sound Factory. in my senior year that I hadn't taken an LSAT or girls, getting them off the ground. I took it very seri- So at any given moment, you'd be on a dance floor appUed to law school or done anything in the way ously and Ivan wanted to promote me to the main and would be behind you in an Adidas of mo'ving into law. But because I was majoring in board, for the full-fledged working models, but I dress. Afrer high school, I did the responsible thing— business management, I realized I could actually pair turned them do'wn. He looked at me Uke I had seven I went to coUege. I went to Morehouse College in that skill with the business of model management. heads, [laughs] But I thought I would be seUing out Adanta, a historicaUy black coUege, and I was asked So I went to New York to meet with different agen- and would lose my edge. Ivan puUed me aside and to be a part of the fashion secdon of a college mag- cies and landed at IMG. That was '96. Ivan [Bart] said, "The reality is that you can develop talent any azine. I did it because I thought it would be fun, but was actually the guy I was told to meet. He was the way. You can develop (CONTINUED ON PAGE 348)

326 "IF YOU DON'T HAVE AN IMAGINATION, YOU'RE PRETTY FUÔKED.''

LOUIE CHABAN

DAVID COLMAN: How did you get into the fashion gave me some girls to represent, all new faces— COLMAN: Would you say you discovered Karen scene? , Maggie Rizer, Frin O'Connor, all these Elson? Is that a naive quesdon? LOUIE CHABAN: In the late '70s, I worked the door girls who were quite quirky. It reminded me of the CHABAN: Discovering takes a group of people. It was at the Mudd Club. I knew a lot of people fi-om clubs '60s and '70s, when there was that whole Bridsh me sending Karen to Steven, because I thought he before that, but that was where I really met a lot movement. That's my favorite dme in fashion, and would Uke her. He did, and that launched her career. of creadve people—, , Paul I had this fantasy of recreating that moment. COLA4AN: How long were you at Eord? Cavaco. We became really good friends. COLMAN: This is the mid-1990s? CHABAN: I was at Ford for a Utde over a year. Then I COLMAN: It was Steven who suggested you work CHABAN: Yeah, it was after all the . They went to EUte. They had lost their top agent there, and for a modeling agency? were sdU around, but there were new girls reañy hap- he booked aU the supermodels. A lot of those girls fol- CHABAN: I certainly credit it to him. In the mid- pening, Uke , ... and lowed him. They brought me in to replace him, and '90s, I was working for Anna Sui and Steven asked Kristen McMenamy had come along just before that I was able to keep a few, one being . me if I was interested in being an agent. I had never COLMAN: Kristen McMenamy was transidonal. It was a cridcal dme for EUte. had left, thought about it, and I wasn't thrilled at first, but then She could work the thing, but she was and Trish Goff, , Michèle Hicks ... I thought why not? Ford was right up a block firom also quirky. I mean, no real supermodel is going to COLMAN: Did your girls come with you to Elite? Anna Sui, and Steven was fiiendlywit h Kade Ford. So shave her eyebrows. CHABAN: I brought Karen, Maggie Rizer, Jade we met and she took me on. I didn't know anything CHABAN: Karen Flson's first big shoot was Ital- Parfitt, and . about being an agent, but I sort of naturally snapped ian Voçrue, where Steven shaved her eyebrows. Pat COLMAN: How long were you at Elite? into it. After being there for Uke a few months, Kade McGrath did that amazing makeup. CHABAN: About four (CONTINUED ON PAGE .348)

327 "I NEVER SAY ANYTHING BAD ABOUT MY FRIENDS. NEVER. THAT S WHY I'M FRIENDS WITH EVERYONE.''

FAITH KATES NEXT MODEL MANAGEMENT

DAVID COLMAN: What was your plan? nal generadon of girls. We went on to represent out restaurant on Third Avenue and 77th Street. KiMTH KATES: I didn't have a plan. I was an assistant unbelievable girls. It's very funny that most of the COLMAN: What's the difference between then and now? in the casdng department at an adverdsing agency. people who are still working today are people I KATES: It's all different. When a girl cancels today, The casdng director quit two weeks afrer I started, met when I first started in the business—Patrick it's different Back then, we had no ceU phones, and so I sort of figured it out on my own. Then I went DemarcheUer, Bruce Weber, , Steven some of the girls wouldn't answer the phone. Patd to work for a producdon company that represented Meisel. My earliest memories of these guys were Hansen and Shaun Casey lived in the building on Hiro and [Richard] Avedon, and I met a lot of people of us going out every night. We were young. They 10th Street and Fifth Avenue, and we would call from fashion. I loved the fashion world. I went for got up in the morning and took pictures. I got up the doorman when they didn't show up to work. an interview at WiUielmina in 1981 and wound up in the morning and went to work. He'd say, "Call me back in five minutes." So we'd taking the job. They told me, "It can take six months COLMAN: WTiere did you go out at night? call back, and he would say, "Not today." We would to book a job," but in about six minutes I booked my KATES: We would have dinner before going out to laugh. He was our connection to knowing what first job. I thought, "Okay, this is kind of easy and Xenon or Studio 54—^places like that. You'd stay out was going on. But today is different because of the fiui." I went on to run the division—^I aU night, go home to take a shower, and go to work. amount of money—there is so much more riding on had never seen a fashion show—and wound up run- That's the way it was. The models would go to din- the line now than there was then. ning the women's division there. ner at Jim McMuUen's, because nobody had money COLMAN: Right, because you've got five people on COLMAN: Who were the girls you started widi? to pay for food, and Jim was die only one who would hold for $10,000 or $50,000 a day. KATES: , Beverly Johnson, Patd Hansen, feed you for free. Jim McMullen had been a model KATES: We used to have a cUent who would book Shaun Casey, Cindy Harrell ... That was my origi- in the '70s and opened the first cool model-y hang- Shaun Casey every (CONTINUED ON PAGE .348)

328 "I THINK WHAT MAKES PEOPLE SUCCEED IS GRIT—INTESTINAL EORTITUDE. IT'S NOT A REQUIREMENT TO GET INTO OUR BUSINESS. BUT YOU DEEINITELY NEED IT TO BE ABLE TO STAY. " CHRIS GAY THE SOCIETY MANAGEMENT. ELITE WORLD GROUP

DAVID COLMAN: Ybu started working at an agency going to a fancy party or traveling the world. But at GAY: Now, it's crazy. We cycle through models so in Boston. the same dme it was Hke, "Okay, I'm going to go to the fast, it's ridiculous. Someone wiH be shooting an edi- CHRIS GAY: Yes, Ford—but the woman's name was party so I can get something to eat for dinner." I would torial and be like, "Okay, I want 14 brand-new faces actually Candy Ford. Basically, while there, I met a have, like, S70 a week to eat on. that no one has ever seen." That reaHy came from the bunch of people from New York and ended up in New COLMAN: How long did you work with her? Internet It sped the process for more new faces com- York City shordy afrer I graduated from college in 1996. GAY: Maybe a year. Then, in 2000,1 went to work ing in. We've started replacing "good" with "new." COLMAN: What's the first place you started work- for DNA, which was reaHy fun. COLMAN: Were you interested in feshion growing up? ing in New York? COLMAN: That was when DNA was hitdng its stride. GAY: No. Fashion to me was MTV. That was my GAY: Next Model Management. The first model I GAY: We were setting the agenda in fashion. We fashion exposure—, Matthew ever started working with was Malgosia Bela. She reaHy had , Eugenia Volodina, Karolina Rolston, Stéphane Sednaoui, and music videos by had an excepdonal career; she's a wonderful, smart, Kurkova, Karen Elson. It was obviously a wonderful people Hke that. What I saw from or lovely girl. Malgosia had this instantaneous success, so dme. The Pandora's Box opened when a lot of major Steven Meisel were music-related more than House I remember trying to move into my first apartment in designers started to use not just one brand-new girl of Style at the dme. You would see top models like New York and then immediately jumping on a plane but seven or eight brand-new girls. They started Naomi and Linda EvangeHsta in music videos. to Milan that day. She booked two ItaHan Vogue covers thinking. We don't necessarily need the established COLMAN: Were you surprised to find that you Hked her second season as a model—just about five months girls so much. So that was really a game changer. working in fashion? into her career. So for that to be my first job was Hke That was in 2005 or 2006. GAY: I found the pace and the energy and the entire having an e-dcket to , whether it was COLMAN: What has changed since even then? environment wonderful (( '( )XTI XUED OX PAOE 34i»)

329 "IT'S NOT ABOUT YOU. IT'S ABOUT THEM. THE DAY YOU START TRYING TO OUTSHINE THEM, YOU LEARN YOUR LEèSON PRETTY QUICKLY."

DAVLD BONNOUVRIER DNA MODEL MANAGEMENT

DAVID COLMAN: What was your entry point into at the dme was at Columbia University, and I was us on the map for a minute. But when we started aU diis? getting dred of flying every other weekend across DNA, there were a few agencies that were extremely DAVID BONNOUVRIER: When I came back fi-om the Adandc Ocean. So I took a job and left for New powerful at the time—Elite, Women, Next—so the army, I got a job at File magazine in France, York. I only worked there for six months. the game for us was just to wait it out. Then in '96 which, in 1985, was like American Vogue. It was COLMAN: What did you do after that? or '97, one of the top agents at EUte walked away the fashion bible. I loved the magazine side of the BONNOUVRIER: My dad and I found an investor to and the whole agency disintegrated. Trish Goff and business. I was in heaven. After a couple of years, I start an agency in Paris and New York. That didn't Kirsty Hume came to DNA. In 1999,1 came across was going to leave to work for a producdon com- work, so at the end of those two years, we parted and that changed everything. pany that made TV commercials, and I was really ways to start DNA. We brought her back to New York, and within six excited because that was uldmately what I wanted to COLMAN: Who were the big girls you had at that months of her arrival, she was on the cover of Amer- do. They were working with people like Jean-Paul moment? ican Vogue. We found her in a smaU agency in Milan. Goude. But my father had started his own agency in BONNOUVRIER: None, [latighs] We had to start She had this big banana smile on her face and it was 1975, and the day before I was about to sign my con- from scratch. But what happened is that we came Uke she had an inscripdon on her forehead that said, tract, he called me and asked if I would come and across this young American girl caUed Annie Mor- "Please take me away." [laughs] I think NataUa [Vodi- work with him. I said yes without thinking about ton. Annie became like the George Washington anova] was a year or so after that. By then. Women it—it took me years of therapy to get to the bot- of DNA. Because we had nothing else to do, she had collapsed and Stella Tennant came to us out tom of that. Several years later, I was offered a job became a mission for us, which translated into get- of Women. It was incredible. That's when we got to work at Wilhemina in New York. My girlfriend ting her on the cover of Bridsh Vogue. So that got involved with defining (CONTINUED ON PAGE .349)

330 "YOU CAN'T CHANGE A GIRL JUST TO CHANGE HER. THERE'S NOTHIN(i WORSE THAN TRYING TO IMPOSE SOMETHING ON A GIRL. YOU HAVE TO BE IN TUNE WITH HER PERSONALITY. WITH THE MOMENT, AND WITH WHAT'S GOING ON IN FASHION.'

DIDIER FERNANDEZ DNA MODEL MANAGEMENT

DAVID COLMAN: How did you end up in the fash- was when they tried a few B-girls on me, and I got I was Uving with Linda in Paris. I was spending my ion world? a French Vo^e cover 'with a model named Heather time 'with aU of them going on shoots, going back- DIDIER EERNANDEZ: By accident. I was bom and Stewart-Whyte. She was then more of a catalog girl stage, traveling. So maybe they liked how passionate I raised in Paris, and I started in the modeling busi- who nobody really believed in—undl she got that was about dieir careers. I love photographers, I love ness in 1990.1 had never been interested in fashion. cover. That led major girls like Linda EvangeHsta and designers. I guess that did translate in our reladon- I was going to be a pastry chef undl I discovered that to call me. They were with Ehte, ship. It was a very strong moment for all of us. We the hours were terrible, so I ended up being a colorist but managed by other agents, and out of the blue they felt the sky was the Umit. and started meeting models in the salon. That's when switched to me. That was '9 L By the end of that year, COLMAN: What do you remember about your frrst I got a litde more interested in it. Afrer six years, I I was with about 20 models—^which was insane, con- meeting 'with Linda? quit to go back to art school, but then I got a phone sidering they were aU working nearly 300 days a year. EERNANDEZ: The first dme we met—before she call from one of the owners of EUte in Paris. I didn't COLMAN: It seems 1992 was a peak supermodel year. made that phone caU—she was shoodng couture with know why he called me, but he caUed me again, and EERNANDEZ: Yes, it was a big explosion. It was the for . I was deUvering the con- I decided to go meet him. I started working the next beginning of a very exddng time for everyone in feshion. tract for her and she barely looked at me. It was one of day for the company. That was March 1990. COLMAN: This is a naive quesdon, but if they were those moments where I felt like. Okay, I'm invisible— COLMAN: Did you think. What have I gotten doing so great already, why did they come to you? which changed drasdcaUy a few months later. myself into? What more could you have given them? COLMAN: So what was your first meedng with her EERNANDEZ: I was interested to see what it could EERNANDEZ: I didn't really know, but I got very Uke when things changed? lead to and I had nothing to lose. My first big moment passionate about it. I was working 20 hours a day. EERNANDEZ: Well, (CONTINUED ON PAGE 349)

331 "CONFIDENCE OR LACK OF CONFIDENCE- FRAGILITY OR NOT BEING FRAGILE. THERE HAS TO BE SOMETHING EXTRA THAT MAKES YOU'

PAUL ROWLAND FREEAGENT

DAVID COLMAN: So you're between gigs now ... New York in 1985. I had always wanted to live in COLMAN: You started out as an agent for Men then? PAUL ROWLAND: Yeah, that's a good way to put New York. I have B.A. in paindng, so that was my ROWLAND: After a while, I reaUzed the money is it. [laughs] I finished at Eord in a kind of a mutual main reason for moving to New York City. I was a in the women. So in 1988, I opened Women and understanding ... That's basically what happened. waiter at Nishi restaurant, which was a very posh Michèle Quan was my first big model. And then COLMAN: And you're married, right? Japanese place on the Upper West Side. Madonna, Emma Balfour. Michèle was actually working at ROWLAND: I've been with a partner for about 20 Cher, Catherine Deneuve—all those people were Indochine—that's where all the fabulous girls went. years and we have two sons, a four-year-old and a there. It was an "in" place and a lot of fashion people And then Kate [Moss] came. two-year-old. went. I met Bethann Hardison and Azzedine Alaia, COLMAN: How did she arrive? COLMAN: What's your husband's name? I actually and they were Uke, "Oh, you should be a model." To ROWLA2SÎD: She was friends with Mario Sorrend, prefer "gay lover," because I'm trying to bring a sense be honest, I really had no idea what that was. But I who we represented as a model, and Kate had come of shame and scandal back to gay reladonships— thought, why not? I went to CUck—and that's when to New %rk to be with an agency called IT, which no ROWLAND: [laughs] You can be as scandalous as you Click was really good. My agent ended up leav- longer exists. She went to their office and they made want with me. I love scandal. That's how I've made a ing Click and opening an agency called Men, and her wait for, like, two or three hours and she got pissed Uving pretty much. I went with her. One day there was some drama, off, so Mario said, "Oh, you should come over to my COLMAN: So tell me the Paul Rowland story. Bom? some booker didn't come in, so I said, "I'll answer agency." He brought Kate over, and we just cUcked. Raised? the phones for you." That's how I started to become a COLMAN: Do you remember what you first nodced ROWLAND: Hot Springs, Arkansas. I went to col- booker—mosdy because I Uked the stabiUty of a pay- about her? lege at the University of Arkansas and moved to check, because with modeHng there really isn't any. ROWLAND: There (CONTINUED ON PAGE 350)

332 "WITH GIRLS, WHEN THEY'RE WORKING, THE MAGIC WORDS PLEASE ANT> THANK YOir

JOHN GNERRE WOMEN MANAGEMENT

DAVID COLMAN: How did you get your start? at the agency Men. But I knew about models from Steven Meisel did. It happened so fast. But I've just JOHN GNERRE: Afrer I finished school, my first big when I worked in Bloomingdale's. I would go on the been blessed with things coming my way. When opportunity was when Candy Pratts Price hired me photo shoots—^I was the styUst. I booked models Uke things feel good deep down, I take advantage of it. to do windows for her at Bloomingdale's. I owe a lot when she was a Utde ldd. A friend COLMAN: Is that how you chose the girls you to her—her posidon of being this Puerto Rican girl of mine said, "It's not about men, it's about women. brought into the agency—by a gut instinct? up against aU these suits... She taught me when you It's the only profession where a woman makes more GNERRE: I've worked with a lot of people who believe in something and feeling strongly about it, than a man. Guys are a waste of dme." So Nadia have come and gone at Women, and some just you have to keep pushing. After she lefr, the fash- Shahrik, who ran the agency Men, said, "Okay, take didn't fit into the mindset of what it's all about. It's ion director there, Kal Ruttenstein, moved me into that comer," of this lofi in Chelsea. We took a door not about an equadon or a formula; it's just a feel- the advertising department. I worked under this and put it on sawhorses and Women started. The ing. You can't describe what it really is. Like, when guy John Jay, and we were working with people like lofr was in Chelsea across from a fire stadon, and it a girl walks in the room and you're just drawn to Mario Tesdno and . That's when Bloom- was really cool because if we looked out the win- her. You don't know (CONTINUED ON PAGE 350) ingdale's was die only unique store in the city and dow, we could see into the firemen's locker room. bringing designers over from Europe for the first We'd check out the guys changing, [laughs] So that's COSMETICS: CBAKEh, INCLUDING LES BEIGES IN QTY 02. HAIRPRODUCTS:KEKASTASF.. INCLUDING ELIXIR ULTIME. time. From there, I had the chance to flip from how Women began. GROOMINC PIIODIVTS FOR ÍVAXr¡ART:TCm FORD./ArLf T)/Ä; being the cUent to working at an agency. COLMAN: Who were your first girls? INTENSIVE IXFI SIOX I). IILY .MOISTI 'RIZER. HA ill: WEST.EY O'MEAR.a. F( )R A( ; H AI R;THE WALl. ( ;R( )l\' MA KEUI': COLMAN: You started working with Paul Rowland. GNERRE: Robyn Mackintosh was one of the first. KR (STIX ( iA1 J.FXiOS FOR CHAKEL COSiLETICS. GROOMING OX 11 : LVÜ- UiT: GltlLIO PANCIERA/VI.MIKOTO PARIS. GNERRE: At the very beginning, he was working She was on the very first cover of ItaUan Vogue that SPECIAL T/L-IA'/av DAYLIGHT STUDTOS.MILK STITDIOS.

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