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Job info Approvals Fonts & Images Job 2302 Art Director Jarrell/Isha Fonts Client John Varvatos Copywriter TBD Centaur MT (Regular), Centaur MT Std (Bold) Media Type Adobe InDesign CC Account Mgr Melissa Live None Studio Artist Rosie/Button Images Trim 19.3” x 13.3” Proofreader None JV_SS17_PERFORMANCE_SPREAD_CMYK_72_ Bleed 19.55” x 13.55” DPI.jpg (CMYK; 61 ppi; 117.39%; Yard 2:2. Pub and Spread Client Client: John VARVATOS:*SS17:_ART:...PERFORMANCE_ Issue Date The Impression Legal Varvatos SPREAD_CMYK_72_DPI.jpg) Jan 30th Issue Notes Inks Materials Due 1/24 Cyan, Magenta, Yellow, Black Editor-in-Chief, Chief Creative Director Special Thanks KENNETH RICHARD EDITOR-IN-CHIEF, KENNETH RICHARD Bill Sweedler, Andy Tarshis, Billy Farrell, Dan Ote- CREATIVE DIRECTOR Editorial Director ro, Stephanie Ketty, James Neiley, Ivan Bart, Eliza- THE IMPRESSION MARC KARIMZADEH (CFDA) beth Carpenter, Megan Tully, Stacy Fisher, Audrey Greene, Veronica Di Fonzo, Nate Hinton, Rajat Art Director JUDY DOWNS Fashion Features Editor CONSTANCE C.R. WHITE Singh, Sogole Honarvar, Luba Dudenko, Zoe Batt Art & Design Intern KIERAN WALSH Contributing Editors GEORGE WAYNE, HAL Stern, Ashley Calandra, James Schuck, Ty LaRache, Fashion Interns KAITLYN FENSTERER RUBENSTEIN, ERICA ROSEMAN Lauren Phelps, Lina Wahlgren, Lauren Pistoia, Jessy CHELSEA MONTANI, NICOLE REIMAN OBI ANYANWU Price, Irena Giugno, Giulia Cupello, Nacole Snoep, Photo / John Nacion VICTORIA ROMANO, SHAYLA KELLY Copy Chief DAO TRAN Frances Pennington, Donna Faircloth, Mina White, GEORGE WAYNE CONSTANCE C.R. WHITE HAL RUBENSTEIN ERICA ROSEMAN OBI ANYANWU Chloe Rich, Josh Bostwick, Paul Morales, Lars Sum- CONTRIBUTING EDITOR FASHION FEATURES EDITOR CONTRIBUTING EDITOR CONTRIBUTING EDITOR CONTRIBUTING EDITOR VP of Business Development KATHLEEN RICHARD mers, Jessica Lucassi, Valerie Tullio, Justin Poland, Acclaimed New York-based style scribe George Former New York Times style reporter Hal Rubenstein’s latest of five books is The Erica Roseman is a New York-based writer, Obi Anyanwu is a New York City-based Photography Partner IMAXTREE.COM Vicky Yang, Michele Pryor, Marlon Morales, Matt Wayne welcomed the opportunity to sit with and Editor-in-Chief of Essence, Looks of Love: 50 Moments in Fashion that fervent shopper, otherwise known as @ fashion journalist for fashion trade website New York’s latest fashion star, Brandon Maxwell, Constance White is a content creator Inspire Romance (HarperCollins). The Global prprimadonna. A strong supporter of Fashion Network, and a freelance editorial Photography Advisor ANDREA ORENI Holloway, Martin Jerez, Brigid Dugan, William MARC KARIMZADEH EDITORIAL DIRECTOR where ‘’the excitement and optimism in the and brand consultant. Style Director for Gabriel Jewelers also sells education, she was delighted to speak with stylist and photographer. The Bronx native Contributing Photographers MYOUNGSOO LEE, PAIGE CAMPBELL Mitchell, Mackenzie Richard, Audrey Richard, New CFDA brand’s showroom is palpable.’’ The Jamaican- his eponymous clothing line on HSN, is a Simon Ungless, who has been “cultivating, has contributed for menswear publications KIERAN WALSH, NINA LOW, LAURA RINALDI York Models, Wilhelmina, Marilyn Models, Muse, born writer will have his ‘’quasi-memoir,’’ Anyone columnist for Forbes.com, supervising editor inspiring and connecting fashion’s emerging and websites in the past including Complex, One Management, Society, Supreme, Women Man- Who’s Anyone - The Astonishing Celebrity for ThePlunge.com, contributes to Elle and 429, class for 20+ years.” Selectism and Details. CFDA Advertising Director agement, Elite, IMG, Exposure NY Interviews 1987-2016, published by HarperCollins and serves as a food consultant for numerous in the Autumn of 2017. restaurants and hotels in New York and Miami. Editorial Director MARC KARIMZADEH JYL ELIAS Vice President of Marketing MARK BECKHAM 212-439-8513

Vice President of Strategic Partnerships ADAM ROTH [email protected] Communications Coordinator EMILY SCHULTZE On the Cover | Tory Burch Graphic Designer KELSEY FAIRHURST Courtesy of Tory Burch

THE SCHEDULE THE SCHEDULE Thursday Feb, 9 Friday Feb, 10 Saturday Feb, 11 Sunday Feb, 12 Monday Feb, 13 Tuesday Feb, 14 Wednesday Feb, 15 Thursday Feb, 16

10am Nicholas K. 10am Calvin Klein 9-12am Paul Andrew 10am Victoria Beckham 9am The Row 9am Tory Burch 10am Michael Kors 10am-1pm CFDA Incubator Collection 12pm Erin Fetherston 10am Lacoste 11am Public School 10am Carolina Herrera 10am Badgley Mischka 11am Delpozo 2pm Marc Jacobs 11am Oday Shakar 12pm-1:30pm Colovos 10am-12pm Adam Lippes 12pm Tome 11am-1pm Rosie Assoulin 10-11:30am Claudia Li 11am-1pm Kimora Lee 11am-12:30pm Kate Spade Simmons 12:30pm-2pm Cinq a Sept New York 11am Jill Stuart 12-2pm Elizabeth Kennedy 11am Zimmermann 11am Naeem Khan 12-1:30pm Brooks Brothers 1-2pm Colina Strada 12pm Yigal Azrouel 11am Taoray Wang 12-2pm Chloe Gosselin 12pm Lela Rose 11am-1pm Barbara Tfank 12-2pm LaQuan Smith 1-3pm Haus Alkire 12-1pm Tanya Taylor 12pm Creatures of the 1pm Gypsy Sport 12pm-1pm Maryam Nassir 1-3pm Alice & Olivia Wind Zadeh 12pm Vivienne Tam 2pm Brock Collection 1pm Hellessy 1:30-2:30pm J. Crew 1-3pm Adrienne Landau 12-1:30pm Romeo Hunte 1pm Proenza Schouler 1pm Bibhu Mohapatra 3-4pm Helen Yarmak 1pm LRS New York 2-3pm Tracy Reese 1-3pm Sally LaPointe 1pm Ryan Roche 2pm Zadig & Voltaire 2:30-5pm Derek Lam 3-5pm Novis 1:30-2:30pm Ohlin/D 3pm Sies Marjan 2pm Dennis Basso 1-2pm Yuna Yang 2-3pm Yeohlee 4pm Anna Sui 4pm Adeam 2pm Linder 4-6pm Diane von 2pm Gabriela Hearst 2pm Tibi Furstenberg 3pm 3.1 Phillip Lim 5pm Marchesa 4pm Tadashi Shoji 2pm Milly 3pm Moncler 2pm Son Jung Wang 5pm Jenny Packham 4pm Libertine Grenoble 5-6pm Assembly New 4-5:30pm Creatures of 3pm Cushnie et Ochs York Comfort 3pm Dion Lee 5-6pm Sandy Liang 4pm Mara Hoffman 4pm Coach 3pm Pamella Roland 6pm Thom Browne 5pm Noon by Noor 3-4pm Banana Republic 6pm Vaquera 4-5:30pm Frame 5pm Carmen Marc 4pm Chromat Valvo 7pm Ralph Lauren 5pm Ulla Johnson 4pm Christian Siriano 6pm Vivienne hu 5-6pm Veronica Beard 4pm Sachin & Babi 5:30pm ThreeAsFour 8:30pm Ralph Lauren 6pm Adam Selman 4pm CG 7pm Prabal Gurung 5:30pm Zero + Maria 5pm Jason Wu Cornejo 5-7pm Mansur Gavriel 7pm Thakoon 5pm Jonathan Simkhai 8pm Altuzarra 5-6pm Club Monaco 6:30pm Monse/Oscar de 6pm Brandon Maxwell 8pm La Perla 6pm A Detacher la Renta 6pm Nicole Miller 7pm Zac Posen 8-10pm rag & bone 6pm Georgina 7:30pm Zang Toi 6pm Pyer Moss 8pm Narciso Rodriguez 6:30-8:30pm Simon Miller 8pm Eckhaus Latta 7pm Jeremy Scott 9-10pm Baja East 7pm Area 9pm Phillip Plein 8pm Vfiles 7-8pm Julianna Bass 9pm Telfar 8pm Alexander Wang

LAUREN HUTTON DOUG LLOYD DIANA VREELAND BILL CUNNINGHAM YVES SAINT LAURENT CLAUDE MONET GIOVANNI BIANCO ALEXANDER WANG Fashion is what you’re offered four– times a year by designers. And style I think it ultimately comes– back to the idea of You don’t have to be born– beautiful to be wildly Fashion is the armor to survive– the reality of everyday Over the years I have learned– that what is important in a Everyone discusses my art and pretends– to understand, as if it were Nowadays, you have so– many different ways to I always think that it’s good– to always preserve a good is what you choose. story telling. attractive. life. dress is the woman who is wearing it. necessary to understand, when it is simply necessary to love. communicate your image. amount of mystery in who you are, in what your brand is, but also be very authentic. The next fresh crop of modeling talent to rule the runway this season CASTINGBy The Impression Team CALL

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JANA JULIUS GERDA MIC KAY SMESTER MUNA AVITAL LANGER GEORGIA FOWLER WILHELMINA SUPREME MUSE NEW YORK MODELS ELITE IMG

MARYNA POLKANOVA ALA SEKULA ANNA VIVCHAR NIC CLARKE GIEDRE SEKS HANNAH BENNETT ANNA HAGOOD MASHA SKOKOVA ELITE IMG MARILYN MODELS WOMEN IMG IMG SUPREME THE SOCIETY

CLEO CWIEK ELLA RATTIGAN ANASTASIA UNIA SIQI LUIZA S OLESYA IVANISCHEVA YOON YOUNG BAE ONE MANAGEMENT FORD WILHELMINA NEW YORK MODELS WILHELMINA FORD ELITE SOCIETY

KATE SPADE NEIMAN MARCUS EDITH HEAD SETH GODIN CALVIN KLEIN ANAÏS NIN SALVADOR DALI ERIK TORSTENSSON Playing dress-up begins at age– five and never truly ends. Women who wear black– lead colorful lives. You can have anything– you want in life if you Instead of wondering when your –next vacation is, maybe you should I love women. I’m trying to do beautiful– things with them. I’m not trying to Luxury is not a necessity to– me, but beautiful and good The one thing the world –will never have enough of is It was important for us to– work and pay our dues. dress for it. set up a life you don’t need to escape from. insult them. My life is not about that. things are. the outrageous. STEFAN ByBECKMAN Obi Anyanwu

On the last final day of New York Fashion Week: Women’s, designer Marc Jacobs does what he always does – close out the week with a spectacle fantastic enough to entice even the most wary of fashion week survivors. Those awe-inspir- ing shows, be it with a perfectly-pink house or a venue inspired by Diana Vreeland’s living room come to life, have been staged by one man, set designer extraordinaire: Stefan Beckman. Since the mid 2000s, Marc Jacobs has teamed with Beckman, collabo- rating on just under 20 runway shows together, with the partnership still going strong. “Marc is incredible because he’s a great director and a great person,” said Marc Jacobs FW14 Gucci, No Longer Not Yet Beckman. “Every collection is differ- ent and his ideas come from art or hand in hand in how they influence the other night,” he said. “Things have is on a case-by-case basis. Smaller, newer architecture or music; he melds them things in terms of cinematography, always changed in fashion, that is what brands should not feel compelled to hold together to make a great show experi- color and texture.” fashion is all about, but I think things full-scale productions, and sometimes the ence. It’s different and a challenge, but That love of visual has enabled Beckman are changing very quickly and quicker larger brands should scale back as well. it’s always interesting.” to build an impressive list of collabora- than before so everyone’s trying to fig- Much like his approach, Beckman feels that Beckman caught the creativity bug tors that includes Miu Miu, Valentino, ure out. I think there are models for the clothing comes first and shouldn’t be at an early age growing up in Texas and and Hermès. The latter partnered with both [runway shows]. You still want to overshadowed by the set, and that goes for Los Angeles. His mother was a fan of Beckman to bring to life its “All About have an emotional response, you’re still runway and campaigns. fashion; his father, a landscape architect. Women” concept, a multiple-room exhi- trying to entertain and you’re still trying “Don’t get me wrong – I love spectacle,” he Beckman’s interest in sets started with bition that explored the world of Hermès to sell and have an image for a house.” said. “I love talking to Marc every season to high school theater, which led him to Social media considerations are also incor- see where his mind is. He’s always about the study film in college. porated in his creative vision. “I don’t think clothes and it should be about the clothes. I “Theater is important in terms of It’s important, even if runway will die, but it will evolve. Film and think it’s okay to go intimate if it’s right. It performance. When you’re doing a video and those things are going to be more has always been different every season.” show, you’re putting on a play,” he you’re older, to push important. I think people are going to push Beckman hesitated to share his plans for explained. “It’s not just a fashion that idea and it’s going to continue to evolve the Marc Jacobs show, citing the Victorian show; you hope that you’re doing yourself in that way and quickly. It can be a scary and you can feel Surf and Diana Vreeland concepts as something that people can take away. nostalgic, but the flipside is to be optimistic. some of his favorites. While the mystery The clothes are obviously the most fashion is really good It’s pushing me to do things. It’s important, remains of what Beckman’s sets will be for important, but what does that make a even if you’re older, to push yourself in that both Coach and Marc Jacobs, one thing is person feel? Film is a very visual thing about that. way and fashion is really good about that.” for certain: with Beckman in charge, we and fashion is very visual. They work Beckman added that show production are all in for a great set-up. Marc Jacobs, SS15

and its métiers. Alexander Wang has also the holidays, it was a really emotional, called on Beckman for numerous proj- incredible experience that took people ects, including campaign sets and runway by surprise. You can’t wow [the audi- shows for his namesake label, as well as ence] every time and it doesn’t have to Balenciaga, and the Alexander Wang for be about the surprise, but it is nice to see H&M runway show. that reaction.” For Coach’s 75th Anniversary Show, Beckman’s line of work has not changed Beckman built a set of vintage auto- much since he began, save for social media as mobiles and neon signs reminiscent of fashion shows are consumed much quicker drive-through cinemas and diners in and at times forgotten by the time collec- the 1950s. For the women’s Pre-Fall and tions hit the stores. To get ahead of con- men’s Fall 2017 collections, the show sumer demand, Burberry, Tommy Hilfiger, concluded with a special arrangement and other companies have held ‘see now, buy Gucci, No Longer Not Yet of “Empire State of Mind” performed by now’ shows, where runway pieces are made the Young People’s Chorus of New York available at the end of the show. City as set in front of a roadside motel In September 2016, Tommy Hilfiger designed by Beckman. launched the TommyxGigi collection at “I’ve worked with Stuart [Vevers] the Tommy Pier weekend pop up at South for several seasons now,” Beckman Street Seaport in New York City. The explained. “I think he’s on a great roll event was unprecedented and is sure to of capturing what American nostal- spawn to similar events (Tommy headed gia is and what America means, espe- to Los Angeles for its second ‘see now, buy cially because of seeing it through his now’ show), but what does this mean for eyes as an Englishman. I think he’s show production and set design? Beckman been great about giving that brand a is very optimistic about the future of run- really fresh look.” way and the coexistence of intimate shows Of the anniversary celebration, he and large, consumer facing shows. Marc Jacobs SS17 said, “I think because of the election and “I was talking to someone about this Coach Pre-Fall 17 Gucci, No Longer Not Yet Gucci, No Longer Not Yet

CHRISTOPHER KUNZ KEVIN KOLLENDA TOMMY HILFIGER JULIE MANNION JEREMY SCOTT GEORGIA O’KEEFFE ISABELLA ROSSELLINI DIANE VON FURSTENBERG In today’s market there are so many –brands and offerings, you do need to And that’s what we need– right now – an emotional If you don’t have the next– big idea, you can get Fashion is very much about– a team, it’s never just one I don’t start with fabric. I –see things in iconography, Making your unknown known– is the important thing– Imperfection charms me, familiar– things move me…a celebration of The most important relationship– is the relationship you figure out who you are and really stay with that. connection to a product – otherwise, it’s just stuck hanging on to the old. person, it’s a group of people. whether it’s a stop sign, Madonna or Mickey Mouse. and keeping the unknown always beyond you. what we have, instead of what we long for. That for me, is glamour. have with yourself. more stuff. Photo / Isabella Bejarano

SIMONBy EricaUNGLESS Roseman BURAKBy ObiCAKMAK Anyanwu

Simon Ungless, Executive Director at Academy of Art University School of and B.F.A. programs. He explains, “Over twenty years ago, the Academy hired The path to building a better tomorrow begins today. More companies are School in France and China, which he considers to have been a learning experience. Fashion, plays a role in fashion that is undeniably discreet, yet deeply influential. a group of us to build a fashion program that brought together a European moving away from creating exorbitant waste and harming the world, and placing “I thought my time in the classroom would be a chance to educate students on the From introducing the world to talents on the runway to grooming the next fashion approach to design while encompassing an American spirit for business.” He more importance on the people over their profits. Education is necessary in every value of sustainable approaches to creating beautiful garments and running a retail busi- generation to playing a part in fashion history, Simon has been an unwavering leader continues, “We have since added marketing, fashion styling, journalism and industry to ensure progress and a stable future, and Burak Cakmak, Dean of the ness,” he said. “I found, in fact, that the students at SKEMA also taught me—and it’s this of the class, proponent of emerging talent, and connector of creatives. social media. We found that the students thrive when working in an environ- School of Fashion at Parsons School of Design at The New School, is committed inquisitive approach to fashion that I’ve brought with me to Parsons.” “I wouldn’t be here if it weren’t for Simon,” declared Sarah Burton to Cathy Horyn, ment which very much mirrors the industry.” In keeping with this beyond- to educating the future. First established as the Chase School in 1896, Parsons School of Design is fostering the then of the New York Times. That was May 1, 2011, the eve of the McQueen exhibition the-classroom credo, Simon spearheads SHOP657, the school’s San Francisco “I decided to step away from the corporate world to bring the needs of industry and next great minds in art, design and fashion. Students at the School of Fashion are follow- opening at the MET, just five days after the debut of her history-making wedding dress store, annual graduation, 180 Magazine’s print and digital media, and New education closer together,” said Burak. “When I accepted the position, my goal was to ing in the footsteps of famed fashion designers Tom Ford, Marc Jacobs, Alexander Wang, for Duchess Catherine. Amidst all the excitement, the person on the tip of Sarah’s York Fashion Week runway shows. continue Parsons’ tradition of excellence, while at the same time, expand programs and Donna Karan and others that have attended the school. Under Burak, the students are tongue was her former Central Saint Martin’s teacher. Countless designers, stylists, On the timely topic of NYFW, the Wonderful Wizard of Fashion, Education initiatives that address current, urgent social issues.” being prepared to be the first generation to make better business the norm. journalists, and merchandisers would, given the opportunity to speak on the record, and Life observes, “Social media, reality television, and celebrity fashion often Burak was named Dean of Fashion at Parsons in 2015 after working at Swarovski, “I hope our students are inspired to disrupt the industries they go into, whether it’s undoubtedly also echo her gratitude for Simon. given the impression that anyone can do this, but the truth is that this takes a Kering and Gap. He had an instrumental role in introducing fashion sustainability prac- fashion design, or other creative fields,” Burak said. “One of our recent graduates, Lucy Simon’s journey started as a student in London at CSM, where he earned lot of work and a lot of being challenged.” He urges his students to welcome the tices at the companies and at H&M, Tommy Hilfiger and Primark, among others. Jones, is now designing clothing aimed at helping people of different abilities, which is an the prestigious Masters of Art Degree in Fashion with Distinction and taught challenge and closes our conversation with yet another astute Simon-ism: “Those While spearheading sustainability initiatives at top industry companies, Burak created schol- area of the industry that has not received enough attention in the past.” for three years. As the story goes, opportunity knocked from across the pond, who stick with it are changed. The energy and process of presenting a collection arships at Parsons and Central Saint Martins in London, and he led the Swarovski Waterschool The kids are all right, and they’re in good hands. That means the fashion industry and bringing Simon to the Academy in San Francisco, where he oversees the M.F.A. for NYFW definitely change people.” Initiative’s education program. Burak also served as a visiting professor at SKEMA Business the world will be in even better hands in the future.

LEE SWILLINGHAM HUNTER S. THOMPSON AMELIA EARHART ALBER ELBAZ PABLO PICASSO TOM FORD CATHERINE DENEUVE DAVID HOCKNEY What the thing looks like– and how it makes you This is the fast lane, folks…and– some of us like it here. Never interrupt someone– doing something you Pure, intense emotions. It’s not– about design. It’s about feelings. The meaning of life is to find your gift.– The purpose of life is to give it away. We have the Terminator as governor,– and we had an actor as president, You can express a lot of things, –a lot of action without speaking. The moment you cheat for the sake– of beauty, you know you’re an artist. feel is just as important as the idea behind it. said couldn’t be done. so why shouldn’t we have a fashion designer as a senator? ROSETTABy Obi Anyanwu GETTY

Rosetta Getty names her parents as her greatest influences. Growing up in Silver Lake, Los Angeles, she was exposed to art and creativity, which in turn sparked her first-ever garment, a pink leotard, which she sewed herself. Now a mother of four, Rosetta contin- ues to draw inspiration from her fam- ily as she operates a namesake women’s fashion label. “I started the brand because I really felt there was not a collection out there that moved easily from daytime to evening, while keeping its polish,” Getty explained. The Rosetta Getty fashion line, Rosetta’s third fashion foray that launched in 2014, is designed for the on-the-go woman, just like her. The mis- sion, according to Rosetta, is to provide a versatile wardrobe of collectible items It’s important to stretch your sense of self, and your comfort zone, because that is often when the best, most unexpected things happen.

“for women that are just as wearable as they are special.” “We are all so busy; we are running from school pick-ups to work lunches to charity cocktail events. Nobody has the time to go home and change,” she said. The Spring/Summer 2017 collection By Constance C.R. White channels Robert Morris’ Scattered Piece and other works, and her latest collec- ANDREW ROSEN tion is also inspired by art, particularly the modernist movement. Getty said, “I have been thinking a lot Andrew Rosen sits in a comfy swivel chair companies because people inspire me. I never am looking for make-up of the company. I generally will about reflection, duality, transparency ANDREW ROSEN: at the modernly sparse New York headquarters I want to be part of helping our industry new things because I have so much going on. tailor it so that it works for them and it and reality. So we brought these same of Theory, his contemporary fashion company. move forward. I give advice to a lot of people. The work that works for me. I’m investing in the vision concepts to life in our collection.” He’s spent, he said, “maybe my whole life” in Things are moving very fast. I want to I do with the CFDA/Vogue Fashion Fund they want to achieve themselves. Getty joined the fashion industry fashion, but hasn’t been content to just bask see what’s around the next corner. is part of that. People want to meet with me. I will not get into a company where I, as a model before launching Rosetta in the glow of the storied Rosen name or the Hopefully, I give them good advice. in any way, shape or form, have to provide Millington, a luxury children’s line, CONSTANCE WHITE: You invest money and success of Theory. He’s become a sort of Medici any management. in 1997 and Riser Goodwyn, a line of your time and expertise. How do you work CONSTANCE WHITE: How do you do that? of fashion, lending support to fledgling compa- I try to understand cocktail dresses, in 2006. She launched with companies? ANDREW ROSEN: CONSTANCE WHITE: What do smart nies. But It’s a rocky time in fashion. Basically, I deal with the where they are and what they are trying to Rosetta Getty to fill a void in the mar- ANDREW ROSEN: designers do that others don’t? “The marketplace is definitely in a state principals of the companies. There aren’t any accomplish. I give them my opinion and I believe they not only have ket that she had experienced firsthand. ANDREW ROSEN: of disruption,” said Rosen. formal quarterly board meetings. My conversa- it may not be what they want to hear. It all an artistic capability, but they have to have some We asked him about what motivates tions happen on a regular basis, organically, and comes down to whether they want me to be sort of vision. They also have to be able to see the Today, she juggles her family life with him to patronize young designers. most of the people are close friends of mine. honest with them or nice. commerce, because without commerce there is designing her fashion collections. The principals would call me. There are no art, and without art there is no commerce. We converse about art, culture and I have been thinking a lot about reflection, duality, CONSTANCE WHITE: What drives you to CONSTANCE WHITE: Has anyone ever invest in young designers and companies, and always forks in the road. You can make this asked you to be nice? If you look at the successful companies, it has design, which inform her process. decision or you could make that decision. No. always been about the ability to not only create “[My family is] so incredibly sup- transparency and reality. So we brought these same how many do you help? ANDREW ROSEN: I help them, but they help I let them stick to their decision. Hopefully, amazing products, but to be able to have some- portive of me, and full of creativity, ANDREW ROSEN: CONSTANCE WHITE: Is there any designer me a lot, too. It keeps me fresh. I don’t really want it’s not one of the decisions that would be cat- who you invested in and quietly exited? one monetize them, too. which is a source of inspiration for me concepts to life in our collection. to list all of them, but there’s Proenza Schouler, astrophic or business ending, but I genuinely There have been a few as well,” she said. “They understand ANDREW ROSEN: CONSTANCE WHITE: What’s the outlook rag & bone. [He also been involved I with Alice believe that you learn more from your mis- of those. Not that we have to talk about for young designers or small design companies? and encourage my process, and always + Olivia and Helmut Lang.] There are a few takes. Maybe inside Theory it’s a little differ- them, but not every company that I invest In some ways, I see a drive me to new ideas and concepts inspiration from her family, she feels not necessarily constricted by the other,” ANDREW ROSEN: other small ones that I have. ent [laughs], but generally, I listen to every- in has to work out. lot of opportunity because stores are going through their point of view.” that she has evolved a lot since her first- she said. “It’s important to stretch your I love our industry and I invest in com- one’s opinion and give them my advice. to need something different. Though Getty’s current life and ever garment. “What you produced yes- sense of self, and your comfort zone, CONSTANCE WHITE: Do you have a stan- panies and at the end of the day I want (For Part 2 of our conversation with Andrew Rosen, career mirrors her youth, living in terday becomes a foundation for what because that is often when the best, CONSTANCE WHITE: Who do you have dard equity position that you take? to make money, but I really invest in No. It depends on the check out TheImpression.com & CFDA.com next week) Rosetta Getty a creative household and drawing you will produce tomorrow, but one is most unexpected things happen.” your eye on this year? ANDREW ROSEN:

HILLARY CLINTON HEDI SLIMANE KATHARINE HEPBURN MAGNUS BERGER ANDY WARHOL KARL LAGERFELD BARACK OBAMA JENS GREDE The worst thing that can happen– in a democracy - as well as in an Fashion somehow, for me, is– purely and happily irrational. If you obey all of the rules,– you miss all of the fun. The idea of a brand today– is a much bigger story. The idea is not to live forever, it– is to create something that will. What I’ve done, Coco Chanel– would never have done. The strongest weapon against– hateful speech is not repression; There’s something to be said– about doing something individual’s life - is to become cynical about the future and lose hope. She would have hated it. it is more speech. good and there’s a great amount of satisfaction in doing something different. Photo / Christos Karantzolas Photo / BFA

MARINABy MarcLARROUD Karimzadeh É KEN DOWNINGBy Hal Rubenstein

Marina Larroudé is no stranger to fashion. Barneys New York’s new fashion director has Everyone I know in fashion has a touchstone, that forthright soul who customers are now watching what I’m witnessing in real time, they get frustrated when MARC KARIMZADEH: What excites you most about your new role at Barneys? been a fashion week presence for over a decade – first as an editor for Style.com, where she The job is so diverse and dynamic that it is hard to pick one thing. isn’t blinded by Swarovski crystals, whom you desperately seek when exiting told they need to wait six months, irritated when they see an “influencer” gets it for MARINA LARROUDÉ: was discovered by the legendary Candy Pratts Price, and then at Teen Vogue. Many will also That is what excites me the most, the opportunity to be constantly challenged. One a giddily gushed-over show whose clothes you swear are going to wind up on free, agitated when it turns up on a celebrity, and ultimately over it by the time it finally know her as a street style favorite with a proclivity for color and print that makes a chic and moment I’m developing Barneys New York private label, the next I’m searching for new E! reality stars, because when you finally catch his or her eyes derisively in shows up in the store, because they’ve now witnessed so much new product since that joyful style statement. We caught up with the Barneys executive about her native Brazil, the designers to bring into the fold, then selecting items to be shot for our mailer. The list mid-roll, you know you haven’t lost your mind or your taste. Ken Downing first rush of desire. fashion industry and working at Barneys – “that dream job I always wanted.” goes on from there! is my touchstone. Neiman Marcus’ Senior Vice President, Fashion Director HAL RUBENSTEIN: So buy now, wear now is your mission? and steadfast North Star is a distinct rarity, as effusive and uplifting a fash- No, it’s the reality! Tom Ford did a live feed and women MARC KARIMZADEH: Marina, tell us about your background. MARC KARIMZADEH: How has working for a luxury specialty store shifted your fashion perspective? KEN DOWNING: I am from a small town in Brazil called Araçatuba. In my teens, I Participating in business meetings and having an understanding ion enthusiast as he is an unapologetic pragmatist. As he relentlessly travels shopped immediately. When Christopher Bailey followed, Burberry’s site MARINA LARROUDÉ: MARINA LARROUDÉ: moved to Sao Paulo to study Communications at FAAP. Back then, I was already in love of what sells and works best in the stores has been very interesting. That certainly has to collections around the globe, then stores around the country, Downing was flooded. Rebecca Minkoff actually reshowed Spring in spring, when the with fashion but I didn’t want to become a designer, so I never considered a fashion grad- changed my perception of the industry. At the end of the day, a collection needs to sell. is driven by the belief that clothes are meant to make women look amazing, clothes were available and her customers shopped and shopped. Even Ralph uate program. While in college, I took classes at night and worked at Brazilian Vogue as a meant to be purchased, and meant to be available the moment anyone sees Lauren knows this isn’t the future. It’s the present. Satisfy the customer when MARC KARIMZADEH: How does your editorial background shape your approach at Barneys? market editor during the day. One of the highlights was working with Gisele for an entire : [It] helps because I know the collections so well. I know when a and wants them. Try to dissuade him from any of these goals and he will roll she is ignited and excited. I don’t work in fashion so I can be photographed MARINA LARROUDÉ issue dedicated to her. For two years, that was my life: all these fun shoots during the day product is a carry-over or when it’s new. That being said, when I’m at buying appoint- his eyes at you, too. on a blog; I’m here because I love women. I’m proud enough to boast that I and school at night. After college, I wanted to explore living abroad. I spent six months ments, I’m drawn to the newness as a consumer would be. As an editor, I know what’s probably spend more time with my customers than almost any retailer, and HAL RUBENSTEIN: With each city boasting more fashion shows than ever, how come finding in Paris before moving to New York. I was dating my now-husband, who had started best from each designer, so my editorial background really helps when selecting product the next big thing doesn’t rank as high as your other goals? their wants are unanimous. working in NYC. Long story short, we got married and never went back. from various vendors. Who doesn’t want to discover talent, but what’s wrong with simply KEN DOWNING: HAL RUBENSTEIN: What’s the most foolproof advice you offer them? making a customer happy? People who love clothes want to buy the dream, something ‘In & Out’ columns are crap. Wear what you love. And color is MARC KARIMZADEH: How has fashion played a role in your life? MARC KARIMZADEH: Name your favorite item you bought at Barneys. KEN DOWNING: I’ve loved fashion since I was a kid! I used to go to a shoe store with Once, I was visiting New York from Brazil. The minute I walked into to take them from the chaos of the world, and the more chaotic the world gets, the less the beacon that pulls everyone to the rail and puts a spring in your step. With MARINA LARROUDÉ: MARINA LARROUDÉ: my grandma every Saturday to buy Melissas. I didn’t want toys, I wanted shoes at 6/7 years Barneys, I saw this very chic woman wearing a wooden wedge sandal, and I fell in love. When they’re willing to wait. color, your body type disappears and you feel stronger, more confident, noticed old. I used to buy this Brazilian magazine called Capricho; it’s similar to a Brazilian version I walked onto the shoe floor, I saw the sandals. They were red leather sandals from Prada. I and special, maybe even beautiful. And isn’t that our goal, making a woman smile HAL RUBENSTEIN: So the thrill of seeing it on the runway or the red carpet is gone? of Teen Vogue, and I was obsessed with it. So I guess that says a lot about me. spent all the money I had brought on the sandals, and I wore them until they fell apart. No, but their real joy is seeing it on their backs, and because my at her reflection? It sure is mine. KEN DOWNING:

SIMON DOONAN MARCUS WAINWRIGHT VIRGINIA WOOLF DONNA KARAN MARC JACOBS CRISTÓBAL BALENCIAGA VICTORIA BECKHAM TREY LAIRD I don’t want a politician who’s thinking about– fashion for even one millisecond. It’s ‘See now, buy now’ is a large– conversation and for us, Vain trifles as they seem, clothes– have, they say, more important When you get to be a certain– age, you can’t believe so Clothes mean nothing until– someone lives in them. Elegance is– elimination. I can’t concentrate– in flats. To have a consistent voice and– stick with it in an industry the same as medical professionals. The idea of a person in a Comme des Garcons it’s more about ‘buy now, wear now’... offices than to merely keep us warm. They change our view of the much has happened. that is so much about “on to the next, on to the next, on humpback dress giving me a colonoscopy is just not groovy. world and the world’s view of us. to the next.” I would say that I BRANDON MAXWELL: always love a bit of structure. And this sea- son, yes, there is probably a bit more on the neck, but it’s all a very natural fit. I will also say that I felt very free making this collec- By George Wayne tion. I felt free of any expectation or opin- ion. For some reason, I really connected BRANDON MAXWELL with the entire process this time around. GEORGE WAYNE: You were one of the first to champion the voluminous silhouette. Is that going to be a continued theme this season? His will certainly be one of the most antic- Yeah, I think so. BRANDON MAXWELL: ipated show of the New York Fashion Week: GEORGE WAYNE: You are known for your Women’s 2017 Fall/Winter season. Which is structure more than the cut, and you prefer to to be expected, because Brandon Maxwell is – drape rather than begin the process with a sketch. without question – the hottest American fash- I don’t know if I BRANDON MAXWELL: ion designer of the moment. It took him all of have mastered it, but that’s how I work, I do four seasons to catapult to superstardom. His drape. The process is different for everyone. luxe, spare chic in a totally original, All-American I worked as a stylist for many years and still way has captured the fashion zeitgeist here, and do. I take the same approach in my design as it certainly doesn’t hurt to have the one and only I did with styling, and that is: I get to know Lady Gaga as the ultimate muse. the woman and her likes and dislikes and the He exuded a charm and lucid self-confi- things that she is insecure about, and really try dence as he sat for this CFDA/Impression to emphasize all aspects. For me, it is all very exclusive interview amidst the chic of his fra- emotional, as I create the collection I drape grantly diffused, all-black and lacquered atelier on a real woman, that is how I know how to on East 49th Street. work. I approach it all very emotionally.

GEORGE WAYNE: What’s your mood been GEORGE WAYNE: Speaking of muses, how like of late, Brandon Maxwell? Has it been do you go about the creative process with your nothing but nervous, sleepless nights? ultimate muse, Lady Gaga? Well, it’s been Well, we’ve been BRANDON MAXWELL: BRANDON MAXWELL: a really busy time! And I have been in a friends for so, so, so many years that it’s a really different place, mentally and physi- best friend, sister, family kind of thing, so cally, before this next show – and it’s been it’s very, very natural and collaborative. a much happier place. I have been flying Do you remember GEORGE WAYNE: back and forth from California and just your first custom design for Lady Gaga? got back after spending one day there, so, Did you design that infamous meat dress yes, I have been keeping busy. I did take a from the MTV Video Awards of 2010?

childhood home, with her family. I have never be successful at. I decompress by going GEORGE WAYNE: Last season, when Imaan What’s the mood for this latest collection Hammam opened your show in that uber-luxe – which I personally consider your definitive a very personal relationship with Riley; home to Austin, Texas. I have had the same Look #1, and was followed by modern, All- make-or-break season? she was in my very first show and we have best friends my whole life and I often unwind Thanks, George, spent a lot of time together and got to surrounded by my best friends. American ingenue Taylor Hill in that frilly, BRANDON MAXWELL: no pressure. know each other very well. She danced the ruffle hem mini-dress and her head-turning GEORGE WAYNE: You have said, ‘I want to runway to much applause last season. ponytail – it was a moment! By Look #4, your GEORGE WAYNE: Well, the world and his be a reliable brand that women can come to front row was in the throes of ovation! wife are waiting for this moment! And I will For me, the women in the show are so each season.’ Where do you see yourself in 2025? [Laughs] You know important and this time around, I really Eight years from BRANDON MAXWELL: also say that as far as this astute arbiter is con- BRANDON MAXWELL: what? I think that my shows are so filled with cerned, Brandon Maxwell is America’s next wanted to highlight Riley’s story. now I will be forty, so in terms of the brand, love that I can look out on that front row and I would hope that we are expanding very fashion star! GEORGE WAYNE: Well, it now goes without know that I have a deep, personal relationship There is no question in my mind about that saying that every modern woman today ought healthfully in a range of different categories. with most of them there – and the same for fact. And, yes, the world is waiting with bated to invest in a classic Brandon Maxwell suit. I look forward to the bags and the shoes and the girls in my show. Most of the girls have breath for this must-see show of New York You just can never go wrong with that. the beauty aspects of the brand, and hope been with me from the beginning. They have Thank you. that we will be able to reach as wide an audi- Fashion Week: Women’s 2017. BRANDON MAXWELL: watched me cry, they have watched me laugh. I never imagined ence as possible. And by forty, I also hope BRANDON MAXWELL: GEORGE WAYNE: The brand is also doing They know that I am very nervous before a that I would be reach this point and that that I will be married and have a baby. show and that I worry so much and I think anyone would care. GEORGE WAYNE: Who are the titans of they understand and realize that. So by the This time around I really had to ask fashion that you have the most respect for? time it comes around, I think that the models Azzedine Alaïa, myself, ‘Who am I?’ and ‘What do I BRANDON MAXWELL: really show up for me. They are excited and I think that my shows are so filled with Donatella Versace and Karl Lagerfeld. Because break before that, in December, in Hawaii, its stunning, striking and genius diversity on the they rally around me. They hold my hand and love that I can look out on that front row really stand for?’ And, as result, I have they are all extremely generous and they have all but I am a fast-paced person, so taking that catwalk. Is this a concerted effort? they make it fun for me. It’s that magic that been at this a long, long time, and yet remain first vacation in a very, very long time was First of all, I work sort of gets me through it. and know that I have a deep, personal gone through this design process very ever relevant. BRANDON MAXWELL: a test of patience. I was waking up every with James Scully, who is the most fan- GEORGE WAYNE: Live for the applause, dar- relationship with most of them there. differently than any before. GEORGE WAYNE: Live for the applause, morning ready to work and then trying not tastic, fantastic, fantastic casting director, ling! So, now the debut of Fall/Winter 2017. Brandon Maxwell. to do that. But what I have learnt through- and I think we both see very much eye to out this entire process is that everyday is a eye. Casting is one of my top favorite parts Nicola Formichetti GEORGE WAYNE: Well, as WWD once BRANDON MAXWELL: GEORGE WAYNE: What about ‘’A Star Is Born,’’ very well on e-tail sites such as www.shopstyle.com. hurdle and a different struggle. of the process and it is very much repre- described you: ‘’a tumbleweed who blew in was the stylist and I was his assistant at that the movie she is re-making with Bradley Cooper? What are your thoughts on the whole see sentative of how I see the world. time, but I did sew up that dress and I was GEORGE WAYNE: So you’re not running on from Texas’’.... Are you working on that project with her, too? now-buy now phenomena? I am very much aware that the world And learning it all vegan at the time. The very first dress I made Oh, I don’t know. I am only on my fumes. BRANDON MAXWELL: BRANDON MAXWELL: BRANDON MAXWELL: No, I am not run- is round and that the world is very much from a grandmother who ran a high-end cloth- for her was on my birthday; she had an album fourth show and so I would say right now BRANDON MAXWELL: GEORGE WAYNE: That would be a natural ning on fumes, but if you had told me when I diverse. And that is just the way I have always ing store in Longview, Texas called Riff ’s. I grew coming out and it was a blue velvet dress. progression for you, to become the Hollywood it doesn’t feel applicable to me because I was ten or eleven years old that I would be so thought of it growing up. I think that fash- up there and that’s where my journey began. As am just getting into the saddle, as it were. GEORGE WAYNE: Are you working on Costume Designer for your best friend. blessed to be working in L.A. the night before, ion sometimes can seem to be so un-obtain- for this upcoming collection, it’s a representa- Well, we will see, I I am quite happy with the way the status designs for Lady Gaga and the NFL Super BRANDON MAXWELL: then getting on a plane back to New York City able and out of reach for certain people. tion of all I have wanted to do for myself. Bowl this year? take one day at a time. quo is working for me right now. and rushing to a fitting for dresses that I have And yes, mine are hand-made clothes This time around I really had to ask myself, You will have to How do you decom- BRANDON MAXWELL: GEORGE WAYNE: And, apparently, your GEORGE WAYNE: made, I would never have believed it. I feel very that have a certain price point and that I ‘Who am I?’ and ‘What do I really stand for?’ watch on February 5th. own pictures. You studied photography at St. press? Where is your bolt hole to get away excited with the way my life has been going. cannot change at the moment. But I want And, as result, I have gone through this design from it all? Falun Dafa Meditation is sup- GEORGE WAYNE: How many looks are you Edwards University in Texas and just shot your to make sure that if a young girl happens process very differently than any before. posed to be the new chic. GEORGE WAYNE: Casting seems crucial to creating, Brandon? How many looks for this own ad campaign, tell me a little about that. upon our collection online or somewhere, The campaign is Meditation? I tried a Brandon Maxwell production. This will be GEORGE WAYNE: Well, we know you love a mad spectacle? BRANDON MAXWELL: BRANDON MAXWELL: that she can see some part of herself repre- You will have to based on the life of Riley Montana, who to meditate once and it was a mess. I can tell your fourth collection, but the brand has already bell sleeve, but this season the nape of the neck BRANDON MAXWELL: become synonymous – and is much regaled – for sented here. seems to be your point of reference. watch on February 5th. is a muse. We shot it in Detroit at her you that meditation is one thing that I will

BOB MARLEY VOLTAIRE DIANA VREELAND RICK OWENS YVES SAINT LAURENT ELEANOR ROOSEVELT JOHN ELLIOTT CHARLES M. SCHULZ The truth is, everyone is –going to hurt you. You just Let us read, and let us dance; these– two amusements will never do I loathe narcissism, but– I approve of vanity. What I do is genuinely about– kindness. Call it teasing. We must never confuse– elegance with snobbery. A woman is like a tea bag; you– never know how strong it is Any person who obsesses –over product and is pushing All you need is love. But a little– chocolate now and then got to find the ones worth suffering for. any harm to the world. In a loving way. until it’s in hot water. themselves to create, is a very curious person with ambitions doesn’t hurt. and aspirations to explore other forms besides just clothing. how I started: I immediately understood the limited for me. I was doing illustrations importance of fashion as an art in expansion. and storyboards and making good money Traditional advertising wants to explain everything I never had a second option; it was the only in that field, but then I realized that first of thing I wanted to do. all, you need to love what you’re doing it’s not just all about money. So after 2 years, I to the consumer. In fashion advertising, it’s all about KENNETH RICHARD: How did you know you wanted to go to school in art direction? decided to move to art direction. Well, it was almost imagination. It is like a good movie, you need to follow RICCARDO RUINI: KENNETH RICHARD: Many agencies have not my choice because I was drawing traditionally snubbed their nose at fashion. the story and read into the message. It’s an experience. constantly, I was drawing obsessed so I But I’ve noticed that those same agencies are needed to do something artistic. I started now adopting more of a fashion/emotional as a graphic designer but it was a little too philosophy. Do you find that as well? I agree. Traditional RICCARDO RUINI: advertising wants to explain everything to the consumer. In fashion advertising, it’s all about imagination. It is like a good movie, you need to follow the story and read into the message. It’s an experience. Little by little, I’ve found that traditional advertising has moved much more in this By Kenneth Richard direction. There is almost no copy, the headlines have almost disappeared, some- RICCARDO RUINI times, it’s just the logo. KENNETH RICHARD: What was your first work for Fendi like and what did you do? Fashion has always benefited from the view of the “insiders/outsiders.” Those who con- relevant Italian fashion brands are based here, like Gucci and Valentino, it’s still inspiring. Everything. I started RICCARDO RUINI: stantly strive to bring balance to the industry by bridging the worlds of fashion, art and film from doing little things like catalogs and KENNETH RICHARD: Do you find the city plays into your inspiration? to help chart new paths. One such adventurer is Rome-based creative director Riccardo My inspiration comes from everywhere: romance, art, life. Also trav- then at the end, we were doing every single RICCARDO RUINI: Ruini, whose ad campaign work for Valentino exemplifies just how far that bridge spans as eling constantly, it’s always a source for my inspiration. When you’re in Rome, you’re thing. I did the packaging, the redesign of he merged fine arts with fashion to produce some of the most sublime and artistic fashion surrounded by eternal beauty and when you’re traveling, it’s more about the up-to-date the logo, invitations, everything, whatever campaigns of the last five years. The Impression visited the Rome offices of the creative inspiration and energy. It’s a pretty good balance. was coming to us. It was a very close relation- director, who has worked on campaigns for Valentino, Gucci, Trussardi and Bulgari, to ship. We grew up together until they were KENNETH RICHARD: We’ve always talked creative rather than history, how did you get into name a few, to chat about how he got his start, David Lynch, Pierpaolo Piccioli, Maria this business? bought by the LVMH Group in early 2000. Grazia Chiuri, Frida Giannini, Rome and the changing landscape of fashion branding. I studied art direction. I went to the European Institute of Design RICCARDO RUINI: KENNETH RICHARD: And then you left in Rome and I started working with [advertising] agencies, but of course there were not KENNETH RICHARD: Riccardo, thanks for taking the time to talk and congratulations on the 3 that agency to go form your own. Can you Clios for the Valentino work. Very different. You’ve taken a different path in terms of your location, many fashion opportunities in Rome. I’ve always loved fashion, I grew up in the fashion share with us how that came about? world, my mother used to work in fashion, and I was always into fashion images more Well, I didn’t really too. Why Rome? RICCARDO RUINI: Well, at the beginning when I started working, everybody suggested than the traditional advertising image. leave the agency, Fendi offered me their RICCARDO RUINI: moving somewhere else, especially Milan. But I had the luck to start working with Fendi, In one of my first experiences as creative director, I had the opportunity to work with Fendi internal art director position, because as I which is based in Rome, so at that stage there was no need to move. From my point of and at that time, nobody wanted to work in this industry. Traditional advertisers always think was saying before, nobody wanted to work view, Rome was always an inspiring city to work and to live. Things have changed, the most that fashion is dull, that there’s not enough copy in fashion campaigns or whatever, and this is for fashion at that time and they really

CHUCK PALAHNIUK DR. SEUSS DIANE VON FURSTENBERG NEIL GAIMAN TREY LAIRD GABRIELA HEARST MARTIN LUTHER KING JR. ALEXANDER WANG It’s only after we’ve lost everything– that we’re free to do anything. You know you’re in love– when you can’t fall asleep As much as possible.– Practice the truth. Fairy tales are more than true: not– because they tell us that dragons It’s very much about the idea,– concept and strategy, The integrity and conscience– of the product reflect you. Darkness cannot drive– out darkness: only light Anyone can get dressed up– and glamorous, but it is how because reality is finally better than your dreams. exist, but because they tell us that dragons can be beaten. and really trying to figure out what’s the right message can do that. Hate cannot drive out hate: only love people dress in their days off that are the most intriguing. for that brand. can do that. different aesthetics in a brand is a problem? Richardson, in 2015 two Clio Fashion and Yes, because consis- Beauty Awards, one for the Prefall collec- When we started Was your work with when they have to talk in social media. and you had someone that decided to I personally think I’m good at putting the right RICCARDO RUINI: RICCARDO RUINI: KENNETH RICHARD: tency always wins. This doesn’t mean that you tion and one for the Spring/Summer, in working for Gucci, we had already done Frank Miller his first film? It’s also a challenge; it’s very exciting for invest money in him and make it happen. need to bring the fashion campaigns into the 2016 the Clio Fashion and Beauty Award two beautiful films with Bulgari, but with We did three films an art director when you have other media It was the same in movies. Now it’s more ingredients together. I always try to make the RICCARDO RUINI: fragrance, but at least they need to have the with the Valentino Spring/Summer col- very different budgets and different ambi- with him. He’s a great character. I’ve always and other worlds to explore. difficult. They pretend they still have artis- same tone of voice. I always try to keep the fra- lection shot with the well-known photog- tions. I was the first person in this industry loved comics. I’ve been very honored to It’s definitely more tic freedom, but not really. And when they photographers work at their best instead of just KENNETH RICHARD: grance closer to the brand. They need to look rapher Steve McCurry in one of the most to give to Mert & Marcus the chance to work with these people. David Lynch is storytelling. Have you found that all of the new become too artistic, they just get fired. like they’re from the same family. suggestive locations, Africa. Now I will be do a film, the famous ‘Parfum’ for Bulgari probably one of my favorite directors ever; communication touch points changed the way How would you describe following a concept. You want David Bailey doing his KENNETH RICHARD: part of the jury of this edition of the Clio with Kate Moss. Chris Cunningham is probably the best KENNETH RICHARD: How did you end up that you concept? the agency and what do you guys do well? partnering up with Gucci? Awards; it is such a great honor. When we worked with Gucci, we pro- music video director; and Frank Miller the Yeah. I’m seeing I never worked in portraits and Deborah Turbeville doing these amazing RICCARDO RUINI: RICCARDO RUINI: In 2006 I founded posed to Frida to start working with top- greatest comic designer ever. that, for sure, and what we’re doing now another agency like ours; you never really RICCARDO RUINI: KENNETH RICHARD: Congratulations. Let’s Rem Agency with Olivia Mariotti, my talk about the new direction of Valentino. Since level directors. All the directors that we No question. So is more editorial. Before, we used to do know how they work. In this job we’re not women and Terry Richardson being rock and roll. KENNETH RICHARD: business partner at that time, when Frida Pier Paolo Piccioli is now the only Creative used are people that are very image-ori- you’ve seen some changes because I imagine one campaign, you could shoot one cam- doctors so we don’t learn the same tech- was appointed Creative Director at Gucci. Director, how has your agency reacted? ented and are all visionaries. I proposed when you started, basically, it was still cut and paign in a single corner and that was nique, we just develop our own technique. trusted me. So they started thinking, why you sell for a million. And you have to Thanks to our great relationship with Frida, During their tenure David Lynch, and everybody thought consistent. Now I find that boring. I The fact that we’ve been working for a RICCARDO RUINI: paste, right? do we need an agency? We just want you. keep the balance of fitting the brand and we decided to start collaborating together. at the house, Maria Grazia Chiuri and that was a crazy idea. Procter and Gamble Yes exactly, I started think it’s become more storytelling, less long time with these high level clients has RICCARDO RUINI: But I declined the offer and instead making sales. It was an amazing collabo- That was also an amazing collaboration – Pierpaolo Piccioli were responsible for the were worried that we might end up having working in the dark room. consistency, but freer. Before, I would enabled us to build their identity brand I decided to open my own agency and ration to reposition the brand, from the we were creating the image for them and successful redefinition of the Valentino midgets in the film. never even try to do a campaign like that, instead of just making campaigns and KENNETH RICHARD: And you started off Fendi was, of course, my first client. For packaging to the catalogs, the invitations, their new identity. Anyway, we worked with brand codes and the reinvigoration of because I would find it too editorial. being consistent. We are very good at this. me, working for a single client was a little we covered all the aspects, for many years. them until they had a change of designer. the business and they have been creative Now I think it’s more modern, it’s more I personally think I’m good at putting too narrow. Anyway, they accepted, so I partners for over twenty years. So when contemporary. the right ingredients together. I always try KENNETH RICHARD: You’ve managed to KENNETH RICHARD: Sure. And then started my agency with one of the most Pier Paolo became solo creative director, to make the photographers work at their actually strike a balance between fashion and Valentino, how did that evolve? KENNETH RICHARD: Do you think fashion relevant brands. It was an amazing start. With Pierpaolo we were sincerely happy for Maria Grazia best instead of just following a concept. fragrance, which is not common. How come? RICCARDO RUINI: is taking more risks these days? I had a lot of opportunities from that in My two examples are [Piccioli] and Maria Grazia [Chiuri], we and at the same time, really excited for Not really. We’re You want David Bailey doing his por- RICCARDO RUINI: RICCARDO RUINI: Rome, like the Festival of Photography and Bulgari and Gucci. Bulgari fragrance was basically started our career together. They our new adventure with Pier Paolo. It was lucky to work with Valentino because they traits and Deborah Turbeville doing these some things related to cultural activities, but owned by Bulgari, which means that you got appointed to accessories for Fendi more like both of them taking their own are taking risks, exploring new directions, amazing women and Terry Richardson my second big client was Bulgari. At that have more control in the creativity and you when I was there as creative director. path, to follow their own direction. For and taking new challenges. being rock and roll. time, Fendi was in the middle of the process can be more consistent. It was a challenge When they were appointed at Valentino, me, experimenting is fundamental. It was KENNETH RICHARD: Do you think that KENNETH RICHARD: What’s next for the to become part of the LVMH group with for me because I was the same art direc- they personally asked to work with us. a new challenge. pendulum will change and that we’ll see more agency? Karl Lagerfeld, so I wasn’t doing so much for tor for fashion and fragrance for Bulgari. Oh, keep on work- KENNETH RICHARD: Relationships mat- KENNETH RICHARD: Why did you choose risk taking in, like, the next 5 years? RICCARDO RUINI: them anymore. Bulgari’s arrival was perfect. Sometimes you’ll see in other brands, the I hope. I always ing, finding interesting projects. We’re ter. Let’s talk a little bit about the aesthetic of photographer Michal Pudelka for the main- RICCARDO RUINI: licensee uses different art directors, differ- believe in new generations. They’re always planning to open an office in New York. KENNETH RICHARD: How did you Valentino, which I am in love with. stay brands? ent concepts for different products, and Their strength is to We really believed in making change, when everything seems It’s the only place where it makes sense approach Bulgari? RICCARDO RUINI: RICCARDO RUINI: That was super chal- they don’t look at all like the main brand. be respectful of the history of the brand Michal’s potential and we decided to suggest established and finished, then something to open another office, for many reasons. RICCARDO RUINI: lenging. I have to say, it’s a very unique With Gucci, it was more or less the but at the same time, we worked together him to Valentino for their second line, Red. He happens. It’s the investors I’m most wor- One of our biggest goals is to enhance brand. I don’t think that there’s any brand same. Frida [Giannini] and the brand to create a new identity and the right lan- was a 24-year old boy from Bratislava and they ried about. The designers are all part of big our digital area. that has the same portfolio. The range is always had the final word. We kept the guage to express their creativity, we got were so excited about his job that they decided brands with CEOs to whom they have to KENNETH RICHARD: Riccardo, thank you unique – from a fragrance that you sell for consistency stronger this way. into the right image. to work with him also for the main line. justify numbers. I mean, I don’t want to be so much for taking the time and looking for- a medium price to a piece of jewely that Their vision was very personal. I think During my career, a lot of things happened nostalgic, but before you had the designer KENNETH RICHARD: Do you think having ward to welcoming newness to America. that they didn’t look like the others. Now naturally. When we did the famous Terry a lot of designers do what people expect Richardson campaign, I had suggested doing After that, it was kind of easier because drawing. So I’d love to hear what your thoughts them to do, like politicians. Pier Paolo something as strong as Terry Richardson during we defined a certain aesthetic, a certain are about all of the changes in the industry. and Maria Grazia didn’t care; they just fol- our presentation and they said, ‘Why don’t we language, and we were really focused on I think it’s still diffi- RICCARDO RUINI: lowed their vision. My personal approach use Terry Richardson?’ They went even further the creation of the music for that film. cult to decide because we’re in the mid- to work is kind of the same; for this rea- than what we expected. Maria Grazia and Pier We’re the only fashion advertising agency dle of it, but now everybody is trying and son, we had a successful collaboration. We Paolo are very open, smart and daring. that won the Gold Lion and the Bronze exploring new areas in the digital world. won numerous awards together, in 2014 Lion in Cannes – and one of those was for Also, they’ve changed the system of KENNETH RICHARD: You have a lot of his- the prestigious Clio Image Award for the tory in film, probably more than most. How the best use of music. With the music for the collections – before, a brand just Valentino Accessories campaign with Terry did that start for you? Gucci, we created a new identity, a music had two collections, now they have four that perfectly represented the new mood or more. This is all displayed openly on of Gucci. social media. Before, the fashion world It’s almost like when you have a woman sitting at the table So after David Lynch, the second col- was so secluded, they never spoke to looking so sexual and mysterious, and then she starts talking laboration was with Chris Cunningham anybody, and now they have to speak for ‘Flora Gucci.’ We won so many awards with everybody. and she says something stupid and everything falls apart. I with that one. Chris Cunningham is prob- It’s almost like when you have a woman ably one of the greatest geniuses of our sitting at the table looking so sexual and think that the fashion world is the same, they should really be time. And then Nicolas Winding Refn, mysterious, and then she starts talking and Frank Miller. They all have something in she says something stupid and everything careful when they have to talk in social media. common, and I think it’s the visionary falls apart. I think that the fashion world part. It’s not just storytelling. is the same, they should really be careful

PLATO MAE WEST THADDEUS O’NEIL RALPH WALDO EMERSON AYN RAND RODRIGO BAZAN PABLO PICASSO AVERY BAKER Be kind, for everyone you meet– is fighting a harder battle. You only live once, but– if you do it right, once is It was all very organic.– I never thought about To be yourself in a world that is– constantly trying to make you The question isn’t who is– going to let me; it’s who is In a world that moves faster– and faster, the future belongs Everything you can– imagine is real. When you find people that– are really invested in, and on enough. becoming a fashion designer. something else is the greatest accomplishment. going to stop me. to the younger generations. Working with young people board with where you want to go, then you have to trust gives better access to the future. them and let them bring their expertise to the table. models as a startup. The foundation is such a music and film… And women. I am inspired pivotal part of our company. We also learned by strong women, by their grace, their strength that it attracts people to want to work here. and ambition. We are launching a campaign in March called Embrace Ambition, which will MARC KARIMZADEH: How do you balance the roles of CEO and designer? coincide with Women’s History Month. I think it’s challenging… I When I started the company, an article By Marc Karimzadeh TORY BURCH: am lucky that I can think in both ways because was written [about me], and a friend of mine TORY BURCH I care tremendously about the business. I have called and said, ”I loved it, but you shied away been careful from a design perspective—not from the word ambition.” I thought about it, the actual design –but from that word scrappy and she was absolutely right. For me, it’s hard and mindful about how we do things. I came to imagine that it’s ok and applauded for men Scrappy – “disorganized” and “untidy” by from a business background more than a cre- to be ambitious, but when it comes to women, definition – is hardly a term one associates with ative one. I was in PR and Marketing, but I it’s viewed as distasteful. If we can help women Tory Burch. Yet the designer referred to it repeat- was always looking at it in an entrepreneurial, embrace their ambition – whatever that may edly during a recent hour-long conversation for business way, and loved learning about the be, a mom or working – having the confidence The Impression/CFDA. Burch uses scrappy in creative process and the product. It’s a fine bal- about that word would be a great thing. It will the context of her 2004 beginnings – before she ance, and it’s important to understand both be across digital and social channels. We have became the American fashion phenomenon, sides to have a healthy company. women talk about the concept of ambition when she was still working out of her apartment and the hashtag is #embraceambition. MARC KARIMZADEH: What inspires and with lesser resources that required her and the influences you today? MARC KARIMZADEH: How would you team to be nimble and find out-of-box solutions I always go back to art. I was TORY BURCH: describe American style and how do you inter- to plot growth. While Burch won’t be relocating an art history major at Penn. Architecture, pret the notion of everyday elegance? operations back to her living room, her version Particularly these days, I think TORY BURCH: of scrappy is something she is keen to instill in about less-is-more. Growing up, I always felt my Kelly. They are so different, and so incredible. worked on relooking and reorganizing every- the company’s next phase of growth. We caught mom was so effortless and beautiful – sort of thing – it’s back to less-but-more. I want each MARC KARIMZADEH: I love how both are tied up with Burch about, well, being scrappy, philan- undone but beautifully put-together. It didn’t to Philadelphia, Grace being from the Main Line piece to be meaningful with a point of view. thropy, why women should wear their ambi- seem contrived. American style is very diverse and Katherine starring in The Philadelphia Story. When I challenge our team, I may say, “I want tion like a badge of honor, and her future plans in an effortless and easy way, which sportswear There is a bit of a connection. to do sneakers but I want them to be very TORY BURCH: (spoiler: they involve a wedding). ties into. I like the individuality. It’s about confi- feminine, so what does that mean?” We have MARC KARIMZADEH: Your footwear and dence, conviction, and easy elegance. a ruffle sneaker coming out. It’s exciting to see MARC KARIMZADEH: Tory, thank you so accessories have been particular successes. How something different and unique. much for taking the time to speak with me. MARC KARIMZADEH: Besides your mom, are do view the state of these categories, and where Let’s talk about the Tory Burch woman. How there any American women whose style you admire? are they headed? MARC KARIMZADEH: How about Tory Katherine Hepburn and Grace These last two years, we has she evolved since you started your brand? TORY BURCH: TORY BURCH: Sport? What has been the most exciting part She has really evolved, TORY BURCH: about that launch? myself included, with me learning to be a It was basically a whole new TORY BURCH: designer and CEO and taking our customer startup. It started with the concept of The with us. Our customer, in the beginning, was Royal Tenenbaums and nostalgia and has maybe 30 to 45. They were our friends, they Asking hard questions, revisiting processes, grown from there. We wanted it to stand on its were working women, but also moms. Now own. Though it’s performance-driven, the con- it’s all ages. Sport has brought in a whole dif- and challenging assumptions - that’s always cept of mixing fashion and function, and that ferent customer, and I love how diverse it has tension, is interesting to me. become. Different kinds of women started very important. The funny thing is that men are wearing wearing Tory Burch; it happened over time. Photos / Courtesy of Tory Burch it, too. I love that. I did a post of one of my In a way, they helped build our brand and they sons’ friends in a Tory Sport tracksuit on feel a sense of ownership in that. Instagram. He’s probably 22 and he looks great. I love the concept of unisex anyway. MARC KARIMZADEH: Was it important to you to cultivate a customer who perceives a If I ever were to do men’s, it would be small sense of ownership in the brand? to start. I have no plans yet, but you never No, that was completely I always go back to art. I was an art history major know. With three boys and three brothers, I TORY BURCH: organic and not something I ever thought about. am sure there is pressure at home. In the beginning, it was all word-of-mouth, and at Penn. Architecture, music and film… And MARC KARIMZADEH: You have launched fra- we didn’t have any budget. The word scrappy is grance, which has added to your lifestyle concept. something that I am reintroducing to our com- women. I am inspired by strong women, by their Do you have more fragrances in the pipeline? pany because we were always so scrappy. It was We have a couple more com- TORY BURCH: always about using your imagination and doing ing, including Love Relentlessly. When my things differently. It’s really about that now as grace, their strength and ambition. father was courting my mother, he would take well… a less-is-more attitude. out ads in the newspaper’s Help Wanted section, and sign it Love Relentless. The fragrance was MARC KARIMZADEH: How has your own on their love affair when they were young, and philosophy evolved with it? dramatically through technology alone. When could highlight them. I was also interested in his relentless pursuit of my mom. As we have become more we started our company, people thought I was supporting other designers, and wearing them. TORY BURCH: MARC KARIMZADEH: Where do you see the global in our footprint, it’s been really inter- crazy to launch with e-commerce and told me That, and to start a foundation to help women, brand in the next five years? esting to evolve. From an intellectual/curi- that people don’t buy online. Mobile is revolu- was so much part of my business plan. I hope to keep learning, to TORY BURCH: osity standpoint, it was important for me tionizing the way people shop. It’s a new para- focus on product, push our teams, and con- MARC KARIMZADEH: How did your experi- to understand different cultures and respect digm. In the beginning, the department stores ence as an entrepreneur lead to the foundation? tinue to organically grow the company in tan- them. It’s been an evolution from the prod- were in charge; today, the customer is. She has Thirteen years ago, when dem with the Foundation. What is exciting TORY BURCH: uct perspective as well. It has been very chal- access to an enormous amount of information. I was working on this concept and needed to about the Foundation as we grow our part- lenging to go through different crises, and to She is extremely savvy. The world has become fundraise, I went to friends, family and different nership with Bank of America, we have been learn how to get a business through them. It’s very small with technology and travel. business people for advice. We put in a small able to effect women entrepreneurs. Right that challenge that makes you grow. amount and needed to raise the rest. Part of the now, we are giving out, with Bank of America, MARC KARIMZADEH: You have to go with Asking hard questions, revisiting processes, that to be ahead. business plan was to build a foundation with the over $1 million in affordable loans a month. and challenging assumptions - that’s always Yes, and social media. We company, but I knew we’d have to have a success- I was always really careful talking about the TORY BURCH: very important. I am probably the hardest were definitely early with social media because ful company before we’d be able to do that. A lot Foundation in those terms because I wanted on myself, but always pushing things further we had to think of different ways to reach our of people I met with would say, “Never use social to see the impact and scale, which I finally do. because if not, I won’t be proud of where we customer. We didn’t have the budget to adver- responsibility and building a business in the MARC KARIMZADEH: And your personal goals? are and where we have been. I am interested tise so we had to be resourceful. The concept of same sentence,” but it has changed dramatically. With nine children – my TORY BURCH: in the future as well as the present. an online magazine is something we did 9 or 10 Millennials care about social responsibility and three boys, my three stepdaughters, and of years ago. To have original content was very dif- giving back. It’s appealing to a lot of people. course, my fiance’s three boys – all I can hope MARC KARIMZADEH: How has the fashion landscape changed since you started out, and ferent back then. It was a way to show our cus- Traditionally, people built their compa- for is their happiness. I am getting married. how has your understanding of fashion changed? tomer that we had all kinds of interests; we could nies, and 20 years later, they started a founda- We’re thrilled. We don’t have a date yet, but The landscape has changed teach them, we could learn from them, and we tion. It would be wonderful if we can be role we are working on it. TORY BURCH:

FABIEN BARON GABRIELA HEARST JEAN-LUC GODARD SOPHIA LOREN BILLY JEAN KING MIUCCIA PRADA PABLO PICASSO HARRY WINSTON You need to be consistent,– you need to have a The moment you put your– own name on the label, He who jumps into the –void owes no explanation Nothing makes a woman– more beautiful than the Champions keep playing– until they get it right. Fashion is instant– language. Inspiration exists, but it– has to find us working. People will stare. Make– it worth their while. viewpoint and make your point over, and over, and you can no longer hide behind it. to those who stand and watch. belief that she is beautiful. over, and over. The Impression Show Score Criteria Integrity and innovation of presentation Stage of design house in its business cycle Designer acumen Quality of workmanship Impression Score Addressing marketplace innovation Impression Score 9.2 ‑ Shows are rated on a scale of 1-10 9.0 ‑ Scoring reflects the views of: CHRISTIAN DIOR Kenneth Richard of The Impression MAISON MARGIELA COUTURE See more at TheImpression.com

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The purpose of this first level thesis course for the MFA Fashion Design program is to provide an opportunity for students to explore ideas from their incoming written proposal and supporting portfolio of work.

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K CLIENT/SEASON TOMMY HILFIGER FW16 SIZES (W X H, SINGLE PAGE) PUBLICATION THE-IMPRESSION LIVE UNIT LEFT-HAND-PAGE TRIM 9.3 x 13.3 inch ISSUE DATE/POSTING DATE 2-9 BLEED CLOSING DATE 1-31