I am a senior brand storytelling executive and creative director with deep experience across all forms of media.
Good writing cuts straight to the truth.
As an editor and then editor in chief—working at and leading magazines like Paper, V, Blackbook, The New York Times Style Magazine, and Vogue.com—I expanded my expertise across image, film, social, and talent. At Condé Nast I then segued into brand consulting, before becoming VP, Head of Brand at Theory. Today I creative direct everything from social media campaigns to celebrity films.
The job titles and media formats have evolved. But the writerly approach of relentlessly pursuing truth—authenticity to the culture and customer—has remained a constant.
Creating a New
Theory Brand Ethos
How to reinvigorate a brand best known for office basics in an era of work from home?
Lean into the emotional thrill of ambition, and make empowering our customers’ lives the mission of the company.
Do clothes make the man, woman, person? Nowhere is this question asked more than in New York. Ours is a city of striving, of side hustles, of creators, of makers, of artists, of entrepreneurs, of inventors, of ideas. New York is a blank slate, ever evolving, eyes always to the future. New York is a beacon, richly cosmopolitan, made up of people and cultures from all over the world.
At Theory, we make clothes for that global world. Clothes that matter, that make you feel powerful, or serene, or focused, or inspired. Clothes that let you be the star, that get out of the way, that make room for your brilliance, your ambition, your happiness, your dreams. Theory is quality so you can be confident. Theory is quiet so you can be heard. Theory is minimalist so you can live life in full color. Theory makes clothes, you make them matter.
In a New York Minute...
Letting life’s small moments personify the ambitions of a global customer.
Photographed and filmed by Theo Wenner and styled by Heidi Bivens.
Caught between pitch decks, meet cutes, and call times, five New Yorkers find moments of inspiration amidst fall’s hustle and bustle.
These quintessential scenes from city life are effortlessly accented by the warmth of layered cashmere, wool, flannel, and tweed. Each cinematic vignette is a modern reimagining of the urban archetypes we know, love, and occasionally see in the mirror.
Brought to life through the iconic lens of Theo Wenner, these characters were created in collaboration with three-time Emmy-nominated (HBO’s Euphoria) costume designer and stylist, Heidi Bivens.
“The overall inspiration for the project is great films that were shot in New York—Frances Ha, After Hours, Kramer vs. Kramer, Desperately Seeking Susan, American Psycho—films were the city is a character in and of itself.”
Empowerment
Discussing empowerment with some of the most powerful women in the world.
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Our mission at Theory is to make clothes that matter—styles of exceptional quality that empower their wearer, and in some small part help them to do great things.
As a continuation of this philosophy, for Women’s History Month we are partnering with the Institute of Global Politics (IGP) at Columbia University’s School of International and Public Affairs (SIPA) to support their inaugural Women’s Initiative Launch Summit and facilitate ongoing conversations between inspiring changemakers. This partnership will also fund research and programming that aims to eliminate the barriers women face in the workplace.
In addition to our goal of achieving a 50% ratio of women in management positions, within Theory’s organization we have spearheaded a number of initiatives aimed at advancing women. From our networking and mentorship opportunities for female employees to our family benefits and industry-leading child care stipend, we empower our employees to thrive both personally and professionally.
At the IGP Women’s Initiative Launch Summit on March 4, 2024 we presented a panel, Advancing Gender Equity in the Workplace.
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Over the last decade, it's been widely established that the weaponization of technology is one of the greatest threats to democracy worldwide. But beyond the carefully orchestrated spread of disinformation that readily comes to mind, there's another threat-equally organized, yet far more insidious, digital harassment campaigns launched against women in an effort to keep them silent and leadership homogenous. Camille François is one of the leading experts working tirelessly to present research-based solutions to governments, tech companies, and academic institutions to ensure these attacks are stopped and bad actors are held accountable.
How does digital harassment disproportionately affect women?
It’s a tremendously pivotal time to protect women’s rights everywhere in the world.
Early in my career I started looking at online mobs and multiple information operations. This coordinated harassment absolutely disproportionately impacts women. Now it's taking a toll on the diversity of our political leadership too. It's hard for women who are in the public eye—journalists, politicians, etc. That's something that I want to make sure we can tackle because, again, we need a diversity of voices in public life.
How do we create safer spaces for women online? Are there any successful examples of such spaces or anti-harassment policies you’ve seen that we should learn from?
I’m inspired by European leadership on these issues, with legislation such as the Digital Services Act that requires higher standards around content moderation transparency.
Social media platforms are top of mind, but there are many areas that play a critical role in keeping women safe online. Messaging platforms like Signal, for instance, have good end-to-end encrypted messages that offer privacy and security in their communications.
We’re also seeing dating apps think about user safety increasingly, an experience that women deserve to enjoy. So I’m interested in thinking about safety more holistically when we think about tech.
How do we humanize these issues that occur in the digital world but have real world implications?
We’re making progress because powerful women have had the strength to share the reality of what they are experiencing online—the scale and violent nature of it. We’ve seen many instances where online harassment leads to real harm. It’s not just a few instances of internet cat-calling.
You’ve spent much of your career working in tech. What is your advice to the next generation women entering male-dominated workplaces?
My advice—you belong here. That took me a minute to learn and I’m still learning. My second advice is to lead authentically. For me, that means leading with the empathy that’s required for the kind of work I do.
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Running and operating an organization at the center of the fight for reproductive freedom is not for the faint of heart fortunately, Planned Parenthood Action Fund President and CEO Alexis McGill Johnson is ready for a fight. Through her tenacious leadership, Alexis works to defend reproductive rights and advance access to health care, ensuring that Planned Parenthood health centers are able to provide vital health care, education, and support to over 2 million patients each year.
What piece of policy do you think has had the biggest positive impact on women in recent history and what’s most essential moving forward?
Once upon a time, some of the most critical and transformative gains for women were made in the courts. Cases like Roe v. Wade and Griswold v. Connecticut established the right to abortion and contraception. Now many of these gains have been taken away or are at risk. It’s why we need to keep fighting to protect access to the full spectrum of sexual and reproductive health care. Our fight now goes beyond just restoring Roe, but to establishing durable and guaranteed freedoms.
How can women advocate for more equitable healthcare and how does that bring us a step closer to overall gender equality?
We can advocate by making our voices heard everywhere — at our dinner tables, at the salon, at the grocery store, at work. Whether we’re talking to our elected representatives, talking to our employers, talking to our partners, our children, our educators. We have to think of advocacy as an everyday experience — not just one that we can engage in on the first Tuesday of November. Yes, advocacy is voting, but it’s also creating awareness, educating, and sharing our experiences.
How do you stay motivated while women’s healthcare and your organization are constantly under attack?
I’m most motivated by the stories we’re hearing from patients across the country. In spite of countless barriers, they are continuing to choose hope and taking long journeys to get the care they need. They’re a reminder that hopelessness is a luxury we cannot afford. If patients are traveling hundreds of miles out of a hope to live the life they want to lead, we ought to be fighting to make sure that’s possible.
What message of hope do you have for young women and girls of the next generation who may feel discouraged by the recent regression of women’s rights?
I’m so inspired by the fierce energy of younger generations, who have already taken up the baton of leadership and shown the world that they will not stand for the loss of their freedoms or stop fighting once those freedoms are secured. They also keep me hopeful. We’ve already seen the payoff of their work — like in the 2022 elections, where young people turned out in droves to elect candidates who stood for abortion rights up and down the ballot. There’s no doubt in my mind that by locking arms across movements and generations, we will ensure that the U.S. Supreme Court doesn’t get the last word on abortion access. We will.
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Imagine you're walking down the street and you're surrounded by a mob of people lobbing insults and threats against you. You'd call the police, they'd respond, and there would be consequences. This is not the case when such violence occurs online. This is the opening, unsettling anecdote from Nina Jankowicz's second book, How to Be a Woman Online. An internationally- recognized expert on disinformation and democratization, Jankowicz has made it her mission to shed light on and combat such abuse that she herself has been victim to because, as she notes, our lives are online.
People are so quick to dismiss the harassment of women, particularly when it occurs online. What has been your experience overcoming those biases in order to shed more light on this very serious issue?
People think, "Sticks and stones can break my bones, but words can never hurt me," and it's just not true. Not only do I research this stuff, but I've been the target of a years-long harassment campaign online as well. And I can tell you—it gets to you. These threats can result in real danger to our physical safety. I’ve done a lot of work to give voice to these issues because I don’t want this to happen to anyone else ever again.
Despite affecting half the population, women’s issues are often, as you’ve put it, relegated to the kid’s table politically. How do we shine a brighter light and bring these problems front and center?
I love that we have a group of powerful women gathering today [at the SIPA Women’s Initiative Launch Summit], but we also need more powerful men in the room acknowledging this problem. We need tech companies to be thinking of this first and foremost when they're rolling out new technologies or new features on their platforms. We need policy makers to be thinking of this and not just the gender policy councils of the world. Everybody needs to be on board when it comes to protecting women, because protecting women isn't just about women, it's about all of us.
What are some actionable items we can do to reduce the amount of hate women face online?
Individually, if you see something bad happening online, don’t just scroll by—report it. On the flip side, I personally make it a habit to engage whenever I see content I love that’s created by a woman.
The easiest way to invest in ourselves is by lifting each other up. I am really tired of infighting and sniping between women, but luckily I don't see a lot of that in my space. I want to do everything I can to put other women on a pedestal. There's room for all of us.
How do you stay positive when working in such a heavy space?
As women, we’re not allowed to be emotional. We're told that we're so emotional all the time that when expressing anger or joy, we're told that we're just being silly little girls. Men can tear down traffic lights when their favorite sports team wins, but we can’t be excited to go to a Taylor Swift concert. It’s hard, but I’ve been trying to lean into expressing joy online and in real life.
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If you ask Reshma Saujani, the #GirlBoss is dead. The activist and founder of Girls Who Code and Moms First reflects on a time, pre-pandemic when she believed what she now calls "the big feminist lie"-that if women simply tried harder, we could come out on top. Now, she's calling for a totally reimagined workplace; one where through policies like paid leave and subsidized child care, women are protected from burnout and supported in the growth of their careers. How do we get there? According to Saujani, through intentional political organization, and summoning the will to fight on in spite of an uncertain future.
What prompted you to begin Moms First and join the fight for paid leave?
We were convinced for so long that, as women, the problem was us. That if we just got a mentor or a sponsor, or tried a little harder, or did a power pose before a talk, that we, too, could be free. We are not the problem—the structure is the problem. Whether it's paid leave or equal pay, we're coming together to fight for real structural change, which means we're going to finish the fight once and for all.
How can we hold the powers that be accountable when it comes to supporting women in the workplace and closing the gender pay gap?
History has shown that when women come together and they fight, we succeed. That they can't divide us.
In recent years, we’ve seen the power of people organizing at the ballot box. It's a glimmer of hope, but I think it takes real, intentional organization. You have to go company by company, or pass legislation that ensures that companies have to pay women and men the same.
In a society where employers and the government aren’t investing in women’s issues, how can women fulfill this year’s International Women’s Day theme and invest in ourselves?
Use your power and your platform to uplift issues that might be on the margins, like paid leave and child care. Brands like Theory help bring those issues into the mainstream. On this International Women's Day, ask yourself, “How am I going to use the power that I have, to uplift women and uplift issues that affect women?”
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For decades, Alyse Nelson has been answering the question, "What would happen if more women were in charge?" As cofounder, president and CEO of Vital Voices Global Partnership, Nelson acts a "venture catalyst" investing in female leaders including women who have gone on to become Nobel Peace Prize Laureates, U.S. Youth Poet Laureates, prime ministers, and breakthrough social entrepreneurs. Nelson's work has created countless connections among female changemakers and proven that when we come together, the impossible becomes possible.
You’ve made a career of investing in female leadership. What qualities do you look for in leaders?
I find that women often lead from experience. They see something in their community, often not something good, that impacts them personally, and they can't look away. They feel ignited by it. They want to do something, they want to push for change, and that inspires them to step up and lead.
What is the global impact when organizations like yours invest in women?
Because women experience things differently, you get businesses you never would've gotten before. You get new organizations, new ideas. We’re closer to the problems, thus we come up with more innovative and—quite frankly—practical solutions.
What have you learned from working with these female leaders?
We’ve had this model of leadership, a very male model. It’s to women’s detriment when they go in and try to be the male model rather than embracing who they are.
For me, it’s been an incredibly powerful lesson to learn that women lead differently and that difference is precisely what our world needs.
What has been your advice to women looking to lead change, particularly in male-dominated spaces?
Find your mentors, and not just the more senior people, but your peers who are going to really have your back and support you in your career. I run a network of 20,000 women leaders we've made investments in over the last 20 years. They’re pioneering innovative solutions and working in male dominated spaces, and the savior for them is having a peer network of women who are non-competitive; it's a non-hierarchical, but very diverse network from around the world.
It pushes them to take bolder risks and I think that’s critical.
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Domestic work is the work that makes all other work possible and without it, our economy would cease to function. This essential truth is at the heart of Ai-jen Poo's work as President of the National Domestic Workers Alliance and Director of Caring Across Generations. A nationally-recognized expert on elder and family care, the future of work, and gender equality, she is leading the national conversation on domestic work, an industry made up of almost entirely women. Here, she discusses the immense value of the U.S. care economy and how to support women doing this unseen and undervalued work.
Dress With Bold Intent
What is the the emotional meaning underlying the colors (or lack of color) we choose to wear every day?
A curation of artists put together by New Museum Deputy Director Isolde Brielmaier pondered this question. And their answers inspired a campaign shot by Chris Rhodes, as well as two interactive, color-based dinners at the New Museum in New York and Frieze art fair in London.
My #TheoryUniform
Turn the long association between Theory and work dressing on it’s head by leaning into the idea that a uniform is a potent tool of personal style and self actualization. Influencer campaign featuring Josh Hart, Yan Yan Chan, Mathieu Simoneau, Laurel Pantin, and Amanda Murray.
A New Icon of Jazz
A holiday of classics reimagined
In celebration of the holiday season, Grammy-winning Best New Artist Samara Joy debuted her new song, “Now and Then” exclusively on Theory.com as part of a campaign shot and filmed by Tyler Mitchell.
Heralded for bringing jazz to Gen Z, the 23 year-old vocalist has a unique talent for modernizing time-honored standards with a voice that’s at once fresh and familiar. Her commitment to classics reimagined and the ability to find nuance in simplicity are values highly aligned with the Theory ethos.
Theory For Good
Establishing a sustainability brand pillar based on transparency and the sharing of technical expertise with the industry and community through “Theory for Good Talks,” the first of which was moderated by Vogue sustainability editor Tonne Goodman.
This campaign and event kicked off a long term partnership with the CFDA and the UN to enable Theory’s leadership role in sharing and lifting up brands in need of sustainable supply chain expertise.
Giving Swarovski a Whole New Shine
Having just taken over as creative director of Swarovski, Giovanna Battaglia Engelbert wanted to totally change the perception of the brand. After casting Julia Garner, we filmed a hero video that showed her character reimagining her life after putting on various pieces of Swarovski jewelry.
Drumroll, please. Suddenly, you’re shimmying through Midtown in a pair of classic clip-on earrings, trés ladies-who-lunch but with a pop of punkish purple for a twist. Where’s that yellow taxi taking you, babe? Perhaps you’d like to dance on tables in your illusion choker—the kind of versatile item a daring gal can wear with a T-shirt or a gold Grecian gown. A snap of the fingers—now you’re queen of the night, sashaying down hotel hallways with Swarovski’s tiara-like Stella headband perched on your royal head. The world is your stage.
If Burberry Were An Animal…
Burberry needed help reaching American customers with their new ethos. Specifically, personifying the themes within the collection in a way that felt cool and authentic. We cast an array of “real” people with strong social followings and truly singular fashion POVs to answer the question, “If you were an animal what animal would you be?” (This was loosely inspired by a popular British parlor game.)
When Burberry’s Riccardo Tisci decided to introduce a new animal kingdom-inspired house code for the Spring 2020 Collection, he turned to none other than Thomas Burberry—the man who founded the quintessentially British brand back in 1856. It was he who originally chose the charging horse as the house’s emblem, and chose a unicorn to symbolize his own family. In Mr. Burberry, Tisci found the perfect entry point through which to layer his own youth-quake-inflected, animalistic aesthetic. Specifically it was Mr. Burberry’s Victorian era—the ideas and interests of the times, including a particular fascination with the animal kingdom—that dovetailed with Tisci’s own long-standing interest in the people and peccadillos of Queen Victoria’s reign.
A Color Diary for
The Color Collection
By Marc Jacobs
Marc Jacobs’ vibrant new casual accessory and apparel collection calls to mind the vibrant palette of the city that never sleeps.
These days, every outing—no matter how magnificent or mundane—seems to have the lush charm of an old Technicolor film. Naturally, this moveable feast for the eyes has made getting dressed a more colorful affair as well. Enter The Color Collection by Marc Jacobs, which combines vivid hues with casual cuts for everything from adding a splash of color to tackling full-on tonal dressing. For a glimpse of just how easily the rainbow of city life can come into focus if you know where to look, read on for a diary of NYC comings and goings in living color.
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I’m running late for lunch at Tavern on the Green and maybe it’s just the name of the restaurant ringing in my head, but every corner of the city is looking particularly verdant—from the moss-covered walls and cracked paint on the benches along Central Park West to the jewel-toned velvet banquettes that I slide into, apologetic and sweaty with my aloe-hued Marc Jacobs tote bag in tow. Over spring pea and bacon risotto, the conversation turns to the subject of aura photos and before you know it, we’re wandering through Chinatown in search of Magic Jewelry to get a reading. On Centre Street, a viridescent door beckons to us—of course, our auras show up green, too. Daylight lasts longer these days, so I ride down to my companion’s subway stop just for the opportunity to see the sights. Hopping off the F at West 8th Street in Coney Island, the wavy, Lady Liberty-green architecture cuts a striking figure, even at dusk.
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The glory of a summer Friday leaves me with time to spare and nowhere in particular to be, so I settle on an impromptu tour of the city with a focus on all things fun and fancy-free. First up: a visit to Tribeca’s Balloon Saloon, where there’s a display of blushing hues floating happily on West Broadway. Popping in to Barnes & Noble for a fun beach read, it turns out the greeting card aisle is equally abloom with rosy paper goods. Feeling peckish after a long and leisurely walk east, I find I’m in the mood for the pink pancakes at Pietro Nolita—along with its Memphis-inspired pink-on-pink decor. For dessert, there’s only one way to round out the day: a towering serving of fluffy cotton candy and a couple of cupcakes get stashed inside a tote bag that looks like it was made to match.
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The forecast predicts a brilliantly sunny day ahead, which seems to shine especially bright on the lemons at the Canal Street fruit market. Lunch hour calls for dumplings atop the school bus-yellow tables at Wo Hop on Mott Street; afterwards, the cheery exterior of Molly’s Cupcakes acts as the perfect primer for the bakery’s delicious lemonade. After work, the ’70s citrus shades of the subway provide a bit of subterranean cheer before eventually emerging aboveground, where I hop out at the end of the line to catch the sunset over the ocean.
And A Rebranded Nightlife Hotspot
For Marc Jacobs Monogram
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On a crisp evening about a week and a half ago, a tourist couple approached the entrance of Lower East Side hotspot Scarr’s Pizza. It was their last night in the city and for days they had been looking forward to filling up on New York’s most sought after slice. So, you can imagine their dismay at being told the shop was closed for a private event. Luckily they milled about long enough for the Marc Jacobs’ team to jump up from their outdoor-dining booth, and discreetly slip them a few slices quickly fetched from atop the old-fashion counter inside.
Scarr’s has a narrow entrance, so it might have been hard for them or other passers by to see, but beyond that counter a real scene was playing out. As an informal marking of the end of fashion week, Vogue and Marc Jacobs partnered up to throw what can only be described as a pizza party. (Or was it a photoshoot? Maybe let’s say both.) With photographer Tyrell Hampton at the center of the mayhem, characters like Coco Gordon Moore, Deon Hinton, Ella Snyder and Jazzelle lived it up: a Marc Jacobs The Tote swinging here, a pepperoni slice there, and the Marc Jacobs Monogram everywhere.
The fact that these were “invited” guests, most of them pre-dressed and camera ready, somehow took nothing away from the sheer exuberance of the evening—these were respectable hours but the vibe was definitely friends kicking back at the afters. “Eating some of the best pizza in New York, hearing all the tea from my friends, the trials and tribulations of our most recent fashion week endeavors,” raved Ella. It was her kind of night. In fact, according to Scarr’s manager, this was almost no one in attendance’s first time getting lit in the Scarr’s back room. Regulars each and every one, she already knew them all by name, by drink order, by pizza order, and now by bag preference.
Ella carried the American Snapshot, in snorkel blue. As the name might suggest, it’s a handy little pocketbook, about the size you might stuff a camera in, and its multi-color, interchangeable strap recalls that of a throwback point and shoot. Meanwhile, her pal Jazelle toted the tote that’s taken over the world, Marc’s The Americana Small Tote Bag. Between bites of jalapeno pie—“my favorite”—she pretty much owned the night, instigating a full-on runway moment. “We were all just hyping each other up,” she laughed after.
Monogram is of course Marc Jacobs’ runway-inspired exploration of genderless, expressive pieces—capital F fashion silhouettes and materials, but made more inclusive. You can rock it on the street every day (or in the club every night). “You can dress it up or down,” agreed Coco, her J Marc Shoulder Bag in red denim swinging from its chain strap. “Honestly I’m just a big fan of the boxy’ish and oversize look of this jacket.”
Maybe it’s the custom woven Italian denim the pieces are made of (developed for Marc’s Fall 2021 runway collection), or the svelte design of the typefaces, but the Monograms were really popping under Hampton’s rapid fire flashes, set off against the wood paneling of Scarr’s, a sexy sea of blues and grays and bobbing bucket hats.
To those milling about outside, these hijinks and goings on were only hinted at by the occasional strut outside for air. Our aforementioned out of towners couldn’t have cared less though; they pulled aside their benefactor (she too wore Monogram) to express thanks for the pizza. To anyone else who may have had to let a hankering go unsated that night, we deeply apologize, but if it’s any consolation, we left behind a huge stack of limited edition Marc Jacobs + Vogue pizza boxes, so on your next visit to Scarr's maybe you’ll nab one. Feel free to ask for your box on the side as we did—keep it grease free and trophy wall worthy.
Dior 30 Montaigne
How does a modern Dior woman wear the brands pillar 30?
In this play on BTS at a photoshoot styleout, Vogue stylist Max Ortega builds eight looks that take the brands permanent collection pieces into cool girl territory.
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Stylist Max Ortega’s 30 Montaigne Mash Up
Dior’s iconic Bar jacket, which turned 74 this year, has been reimagined and re-styled in countless iterations over the years. But when it comes to incorporating it into looks for an editorial shoot, there are still plenty of fresh ideas to explore—especially now that we’re thinking about fashion in such new ways.
“I feel like my approach to fashion is different now. There’s definitely been a shift,” says stylist Max Ortega, who was tasked with styling the Bar jacket for Vogue’s Eight Ways shoot. The styling versatility of the jacket, as well as the other essential items from Dior’s seasonless and permanent 30 Montaigne collection, make them ideal foundations for a wardrobe—especially in moments like the current one when many of us are revamping our closets for our slow returns out into the world. “There’s a youth movement—more skin and a more defined silhouette. Things we weren’t thinking about a couple years ago are suddenly very much at the forefront of how people want to dress now.”
How people want to dress is always at the forefront of Ortega’s mind. The New York-based stylist—who grew up in Mexico and studied in London—mines inspiration from reality as often as the runway. “There’s room for fantasy, but there’s so much more room for practicality and logic,” he says of his approach. “I ask myself, ‘Who is this girl? What would she do in these clothes? Where is she going?’ Then I try to build out a character and a world.”
For this shoot, the character he’s built is playful and fresh—or, as he puts it, “classic with a twist.” To get there, starting with the house’s emblematic Bar jacket was a logical first step. “The jacket is iconic, it’s timeless, it’s snatched—all the clichéd words people use to describe clothes actually apply here,” he says. “It’s the kind of piece that makes me love fashion.”
And it doesn’t hurt that the Bar jacket’s signature wasp-waist silhouette also happens to feel especially current right now. “The women I’ve been talking to in the last six months are really into corsets and this idea of tighter dressing; the Bar jacket has that silhouette already built-in,” Ortega explains. “Knowing that you’re going to get that shape whenever you wear it opens up the possibilities.”
In this case, the possibilities include everything from a suit-inspired culottes-and-sneakers combo to a peek-a-boo bralette look—unfussy options that can be altered with the switch of a bag or the undoing of a few buttons. “The key to the Bar jacket is understanding the power it wields,” Ortega says. “You can throw it on with some pants and get on with your day or you can open it up and make it a little sexier, but either way you’ve got that built-in shape. That’s the beauty of the Bar—you already have what you need.”
Its power translates to more casual looks, too. In one denim mash-up, Ortega references two seemingly disparate genres—’90s hip hop and Ivy League prep—by adding a bralette, a cashmere sweater, pointed flats, and a pair of briefs emblazoned with the words Christian Dior at the waistband to Dior’s boyfriend jeans and an ivory Bar jacket. “Showing the brief’s waistband is such an American notion,” Ortega says. “But adding the Bar jacket, pointy flats, and tying the sweater around her neck keeps it in a Dior-esque world.”
Not that the ever-versatile Bar jacket is the only way to style a pair of boyfriend jeans—or any of the 30 Montaigne pieces, for that matter. In another twist on a classic, Ortega updates a traditional white shirt-and-jeans look (“very American Vogue”) by simply tying another white shirt around the waist. Later, he layers the bralette over that same button-down to create a cinched silhouette. “I like to think about how people are adopting the traditional menswear codes," he says. "Often, as a stylist, you have to think about how items will look when cropped in as a portrait. The bralette adds some romance to the button-down, especially when viewed from the waist up.” Considering how many of our daily interactions take place from the waist-up on Zoom and Instagram, it’s an idea you’d be wise to steal for real life, too.
“It’s a way of layering that works—it doesn’t look forced,” Ortega says when reflecting on the looks he created from the 30 Montaigne pieces. “That’s because these clothes are all in one language. It all makes a lot of sense.” In the final looks, that easy layering becomes even more playful, more defined. An edgy black logo T-shirt finds kinship with a leather mini skirt and a delicate Swiss dot shirt—“an extra bit of texture to bring the T-shirt into a romantic world.” Then a swishy black Swiss dot tulle midi skirt gets teamed with a supersoft cashmere logo sweater. “It’s cool to be able to mix it all together,” Ortega says. “You know, it’s such a fashion cliché, the idea of mixing old with the new; contrasting soft with the hard; pairing leather with lace. But it’s a cliché because it works.”
And making it work is something Ortega doesn’t take lightly. “The process of coming into a room with a rack full of clothes and trying to build out a character can be very different depending on what you’re working on, but this one was really fun. The best part about being in the Vogue closet are these moments: throwing things on and stripping it all down and then building it all back up again,” he says. “When the clothes are good and you’re letting go and enjoying the process, things just happen on their own.”
Polo Loves New York
Over the course of a few months, Polo aimed to really connect its brand identity with that of young, creative, cool New Yorkers. Starting with a piece of simple fashion writing, we then cast Cassi Naomda, Hailey Benton Gates, Mikyako Bellizzi and Sade Lythcott to star in 3 pieces of content.
Coach Quiltie
Influencer campaign with Beverly Nguyen, Frank Ayzenberg & Alessandra Garcia.
Fendi Coats For Fall
A straight forward set of fashion images meant to show the easy wearability of this early Kim Jones for Fendi collection, acting as an accessible (more commercial) counterpoint to the brand campaign.
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In Artistic Director Kim Jones’s debut ready-to-wear womenswear collection, luxurious details and heritage-inspired pieces take center stage, all tailor-made for women of discerning taste.
If fashion can be seen as an everyday armor of sorts, then this season of tentative reopenings and cautiously returning to some semblance of normalcy means that we’re choosing our fall wardrobes more carefully than ever. Selecting pieces that will carry us from the office to lunch dates to dinner parties and back again is at once thrilling and nerve-wracking; our clothing needs to possess a blend of structure and softness, function and form. Enter Fendi’s fall 2021 collection, the first from Artistic Director Kim Jones. Defined as a “palate cleanser” bridging the transition between Silvia Venturini Fendi and Karl Lagerfeld’s storied contributions to the brand and his own work, the description of the collection is also apt when it comes to how we’re thinking of slotting its lush yet versatile offerings into our seasonal style line-up. “I’m taking the amazing, strong women who I both know and work with, and listening to their needs,” Jones says of his spot-on creations. “There’s a usefulness to the collection, explored in a chic, timeless way.”
Inspired by the rich treasury of leather goods within the Fendi archive, the fall 2021 collection is predicated on craftsmanship and a rich spectrum of neutral hues. “Fun isn’t always just about bright colors,” says Jones. “It can be about really luxurious self-indulgence, which pleases the person wearing it more than anyone else.” From the distinctive stitching on the signature Selleria bag to the plush double-face cashmere apparel, the collection’s details aren’t designed to turn heads—though they will—so much as to become soothing elements that act as a protective barrier between you and the rest of the world.
When it comes to Fendi’s coats in particular, that shield-like quality is especially apparent. A key component of getting back into the swing of things is getting from point A to B, and the brand’s outerwear is sure to make every commute and chilly breeze an occasion worth dressing up for. A crisp white oversize shearling jacket is slouchy enough to accompany a thick sweater once temperatures drop, and warm enough to top off an ensemble featuring a woolen bra top. A high-waisted pencil skirt and slick, knee-high boots round out a cozy-chic dinner look, but this coat’s aviator-inspired silhouette is just as suited to elevating a simple, weekend brunch-ready tissue-thin T-shirt and rigid denim.
For getting to and from work this fall, a classic double-breasted topcoat feels refreshed in a blushing pink camel wool with split seams at the sleeves and sides—perfect for folding back to show off a chunky knit and allowing for fluid movement, respectively. The subtly feminine hue is offset by the powder pink leather on the Fendi First bag, a new design that uses the brand’s monogram to serve as the frame and closure mechanism that creates an asymmetrical pochette shape. For those who want to add this bag to their daily go-tos but need something hands-free, a detachable strap turns this sculptural clutch into a stunning shoulder bag.
The elusive pursuit of the perfect camel coat meets its conclusion in the form of an ultra-soft, double-breasted wool caban with leather buttons—a true hero piece that’ll complement just about everything in your closet. We’re looking forward to pulling together head-to-toe earth-toned ensembles like Fendi’s matching cashmere skirt and bra to make a splash when we’re stepping out with the goal of making a statement.
No matter what the months ahead may hold—from everyday excursions to one-of-a-kind outings—we all deserve to drape ourselves in materials and silhouettes that make every day feel like an occasion and are, above all, wearable. Kim Jones’s timeless Fendi creations tick all those boxes for this season and beyond. While we’re excited to see what he does next, there’s no doubt that his heritage-focused debut will have a lasting presence in our wardrobes for years to come.
The Party Collection
Valentino wanted to portray the Alcove bag and their Holiday “Party Collection” in a manner that was a little more punk and sultry than they felt they were normally perceived.
Ultraboost for the Fashion Girlies
Without telling a fashion message per se, adidas aimed to connect it’s latest technical innovations in running footwear to a female audience of creative women—women who weren’t pro runners, but who took running seriously while being movers and shakers in their respective creative fields.
So we asked Christy Turlington,the ultimate do-it-all supermodel turned mom-trepeneur, a simple question, ‘What if you gave up walking and ran everywhere you had to go?’
In support of the Christy Turlington hero video campaign, we worked Vogue, Glamour, Allure, Teen Vogue, and Self to curate 11 influeners to put their own spin on all day running in the UltraBoost.
Featuring Coco Baudel, Alessandra Garcia, Emily Abbate, Annie Greenberg, Gina Danza, Mekdes, Jules Lorenzo, Brenn Lorenzo, Madelynn De Le Rosa, Ann Mazur, and Jacky Hunt Broersma.
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From Rarified to Democratic, the Classic Gucci Handbag Has Been Completely Transformed
At his fall 2020 show, Gucci designer Alessandro Michele reintroduced a beloved piece from the grand house’s past, and did so in precisely the iconoclastic manner we have come to expect from him. Wrought in new materials and new sizes—and meant to be worn by all genders and all styles, we’re talking about the once classic, now of the moment, Jackie Bag of course.
For those who may be unaware, the Jackie first came to prominence in the 1960s, at a time when the singular fashion decisions of a handful of women (often glamorous old-money socialites or political leaders or wives) would instantly ripple out as international trendsetting sensations.
Flashforward to now. We are more focused on holding those in power accountable than aping their dress style—and people we find iconic can be found in all walks of life. In re-elevating the Jackie Bag, Gucci is recognizing that the Jackie of today wouldn’t be a member of the unreachable elite. In fact the Jackie of today isn’t even a single person; they’re an idea, they’re any and all of us. Look around for the spirit and panache of ‘60s high-fashion icons and you’ll find it on the streets of every world city from New York to Beijing, on the social feeds of kids who haven’t yet bought their first Gucci bag (though they’re surely saving up), in the energy that is fighting to make the world a better place, and in the wholly new interpretations of the very idea of fashion in a world newly recognized as non-binary in gender.
In each of the composite images we’ve created here, a different character conjures that original Jackie Bag, but transposes it into their own contemporary scenario. Jackie is a rebellious Brooklyn gallerist, hailing a cab after a night out spent dancing. Jackie is the inscrutable Maitre D’ with style—and attitude—to spare, the one who can barely be bothered to show you to your table, but you don’t care one bit because they’re so fabulous. Jackie is sitting on the front row at the next Gucci show, invited not because of their tony uptown address, but because they’ve made a difference in their community or written poetic words that inspire their generation. Jackie is the performer who’s redefined a genre and found success where the powers that be said there was none to be found.
And that’s just the tip of the iceberg. The point here is that anyone can be iconic; the power to wield out-sized influence has been democratized; and the Jackie Bag reflects this truth. It’s no accident that Sidney Prawatyotin is the artist behind these images. He captures our new world every day with his “Siduations” project, an Instagram feed through which the fashion publicist-turned-creative director conveys bitingly astute cultural commentary in the language of visual irony—by cut and pasting iconic fashion imagery into discordant, statement making backgrounds. We’re in a moment where the rules defining who can wear what are dissolving, and Prawatyotin’s work not only perfectly portrays this, he himself makes for a perfect Jackie.
So when it comes to the new Jackie Bag, let your imagination run wild; let the bag’s storied past and open future inspire you to be you, to dress more as yourself than you ever have before. If a bag like this is about making statements, then Gucci’s new Jackie invites you to write your own manifesto—and yell it from the rooftops. With the new Jackie on your arm, you’re the star of your world, no matter how big or small it may be, and that’s just the way Gucci intends it.
A Gucci It-bag Relaunch
Gucci’s iconic Jackie bag is of course named after the iconic Jackie Kennedy. To the younger generation though, while Jackie Kennedy is perhaps iconic, she doesn’t resonate. So we worked with Instagram star @Siduations (who’s known for creating photoshopped, surreal mashups of fashion personalities) to reinterpret the character of Jackie for the younger generation.
…Made Personal
Campaign extended through emotional storytelling from top industry fashion writers, connecting the Jackie bag to the full Gucci offering.
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The Romance of Milan
Milan. The Jackie bag, reissued from a classic 1961 design, takes me back to my long-awaited first trip there fifteen years ago as a greenhorn fashion writer from the casual Midwest. Milan seemed to me the perfect paradox of restraint and exuberance—a place where a woman could tote a proper purse and still be wild at heart. I studied these women as I sipped bittersweet Negronis at Bar Basso, struck by the way their expressive femininity made traditional codes of dress (silk blouses, gold hardware) seem provocative, even radical. I slipped into reverie while eyeing the leather goods at the vintage shops near the Navigli; who might I be, I wondered, if I moved about the world bearing that culture, that tension between rigor and romance on my shoulder? What was it about the weight of the suede, the glint of the piston closure, that held the promise of a richer emotional life? It’s a mood I still carry with me.
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Laugh. And Laugh Some More
When he was four, my little brother taught himself to read by scouring TV Guide for episodes of Disney’s “Duck Tales.” The show played at the same time I got home from school, and everyday I’d watch with him, feeling his giggles as he snuggled up against me on the sofa. Culture was our medium of communication. In college, he’d mail me tapes of music he recorded on his primitive four-track. Later, he’d send books—Charles Portis was a favorite—and forward memes I barely understood, but LOLed at anyway. The LOL was for his laughter; it was like I could still feel his giggles. His glee was infectious. We took a road trip through the Southwest a few years ago, picking up crystals and oddball souvenirs along the way, and I remember how, as we drove, his laughter seemed to fill the endless desert.
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Warm Cocoa and a Coat
The weather’s turning and I’m forced to wear a coat outside—I can see my nan. Her fragrant hands are knotting me into a sleeve-y blanket right up to my neck so we can go outside. To the park, to run off steam; and then to somewhere that does scones, one of those little tearooms where the jam and cream come separately. She nurses her bagless tea; I wait for the magic moment when my chocolate is still hot but not too hot; our coats are hangered on the backs of our chairs. Nowadays, my coat is armor, my tortoise shell, protecting against the elements en route to dinner with my lover, on a night at the opera with binoculars, or on out-out nights when I lose my keys and my phone and my all-important coat-check ticket. But back in that tearoom, I know nothing of my future life. I am still an unwritten book. I am unfolded origami. We put our coats back on. We’ll be back home in time for Countdown.
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Money Bag
Green is the color of money, but it’s also the color that you can feel in your hands. It’s visceral, and smooth, and a little too bright to look at sometimes. It makes me think of crumpled dollar bills in a purse on a long night out, and pulling out a few for chips at the bodega and then more for drinks at a bar; this purse’s ridged green, next to a chain strap, also makes me think of the communal energy I sense mounting as spring ascends into full momentum. I feel my ambition, and my desires to both be in the world and to master it, all returning — we call it “getting the bag” nowadays. I like to call it remembering my worth. What purse displays that better than this green concoction with enough swagger to show that I’m not playing around?
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To Be Bold Is To Be Born Again
I had spent months alone in Brooklyn, wearing the same comforting clothes again and again until they fit like a second skin. So halfway across the world in Seoul, unpacking my things in a sunlit room, I was surprised, lifting one musty black top after the other, how ill-fitting they seemed. Wandering through the streets, sitting in a cafe. Those once ordinary activities were strange and thrilling. The people around me dressed in a way that I had forgotten and suddenly craved. Jeans without stretch that sat stiff on the hips. Heels that pinched my toes, just a little, after a few minutes walking uphill. A smart leather handbag, cobalt blue and jade green, like the rivers and trees of my homeland. It’s a terrifying feeling, starting over. Yet it’s exhilarating to strip everything away. The thought that even now I could still become someone new.
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The Bold and the Beautiful
What does it mean to be bold at this moment in history? It certainly doesn’t mean being brash and bossy, the loudest voice on the Zoom call. It has to do with a different sort of courage—to speak up, even if your voice is as soft and as it is firm, to fight fearlessly for what’s right, and to bravely flaunt your own highly individual personal style. This Gucci Beloved handbag—cranberry and pink! Tiger head closure! --could be worn of course with a sober suit or a pair of jeans and a tee, but not by me. For me, style has always been about embodying my wildest fantasies and translating them into fashion—a shimmering tutu, a vintage smock, a pair of glittery slippers—and then this scrumptious Gucci confection, dangling from a bold shoulder as I go off to meet the world.
Personal and Editorial Work
Model Boy
A gritty drama exploring the lives of these wide-eyed young guys lured into New York’s notoriously fickle high fashion modeling world. Sexually objectified, subject to the male gaze, paid in little more than social prestige—which of these ‘male ingenues’ will parlay a moment of fleeting fame to achieve his dreams, and which will the industry chew up and spit out?
Vogue: The Modeling World’s Sudanese Stars Share Their Stories
Angok Mayen and George Okeny have overcome countless challenges to achieve their goals and work for the greater good.
Vogue: Inside the Life of Bella Thorne.
After a hyper image-managed childhood as a Disney star, Bella Thorne is offers her millions of fans an unfiltered picture of herself as she strikes out into new professional territory and seizing the reins of her life for the very first time.
NYT Style Magazine:
The Stars of Cannes
Hollywood glamour on the Plage du Midi.
Photographed by Peter Lindbergh
NYT Style Magazine:
Ballad of a Thin Man
The season’s iconic suits on a generation’s iconic rockers.
Photographed by Mikael Jansson
NYT Style Magazine:
Expatriate Games
For seven years, Josh Winters partied wıth the Mideast elite and lived to tell about it.
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"This is the story of a person who does not claim to be a fighter for patriotic causes, a political leader or diplomat, it is merely a story of an ordinary citizen, who found himself thrust into the midst of events he had no choice but to be a part of — events he could neither evade or distance himself from, as they unfolded. This is just a story of a Yemeni citizen.”— Mohsin Alaini from his book, “ 50 Years in Shifting Sands,” translated by Hassan al-Haifi
In 2003, I landed in Yemen for the first time to surf and study Arabic dialects. I traveled at the invitation of Haitham Alaini, a young entrepreneur who was educated at George Washington University in Washington, D.C. He had returned to Yemen to start a construction business that would eventually expand into oil and gas infrastructure, as well as security and I.T. He had a convoy of black Land Cruisers meet me on the tarmac and take me to his family’s home. The ride through downtown Sana’s trash-strewn streets was my first glimpse of a society seriously out of whack. During the next seven years, as I partied with the region’s high rollers and influence peddlers, the gulf between privilege and poverty would only get wider and more surreal.
Alaini’s family home is in the city’s diplomatic quarters. Its walls are hung with pictures of Haitham’s father, Mohsin, posing with J.F.K., with Zhou Enlai, with Nasser and with several other luminaries of the Arab Nationalist Movement of the ’60s and early ’70s. Mohsin Alaini was Yemen’s prime minister five times during that tumultuous period. His son, my host, grew up shuttling between world capitals, as Yemen split and reunited, north and south swept up in the two ideological passions — Arab nationalism and Soviet-style socialism — of the 1960s. By the early ’80s, whatever was left of the Arab Al-Nahda (renaissance) was replaced by a culture of lavish consumerism fueled by oil wealth.
Mohsin Alaini now lives and writes in Cairo, the city where he attended law school in the 1950s. Although most of his writing is political, he published a memoir that’s a snapshot of an Arab world rocked by dissent, much as it is now. He was part of a small group of Yemeni intellectuals who, inspired by the Egyptian revolution of July 1952, returned to Yemen intent on modernizing the country and establishing a republic. This is the ironic heritage of those autocratic regimes that have been upended by popular protests this year.
Alaini generously provided my friends and me with a Land Cruiser, two bodyguards, a satellite phone and a stack of guns. The next morning we left mountainous Sana by road, bound for the provinces. We didn’t return for 12 weeks as we explored every cove and peninsula of Yemen’s rocky Indian Ocean coast. This began my long and happy relationship with the rougher parts of Yemen and the Horn of Africa.
The desert coast of Somalia is another matter. Getting there is difficult. Somalia has little in the way of infrastructure, never mind consistent flight schedules available online. When my friends and I decided to surf there, our first stop en route was Dubai, where several Somali political exiles corralled us into endless meetings over Turkish coffee pleading for us to reinstate them to power. We nodded sympathetically and told them we had no means to help them. They smiled conspiratorially. It seems an American abroad is always thought of as a C.I.A. operative, unless he’s on safari or sketching a French cathedral.
When we eventually made it to Galkacyo, the main city of Somalia’s northern state of Puntland, we were collected from the airstrip by yet another convoy of Land Cruisers bearing smiling men with guns. We would spend the next month driving up and down the coast of Puntland, from Ras Xaafuun down to Eyl, with its angry pirates and bleak sand dunes. Our host was a local businessman who maintained his own private militia, as one does in failed states. Abdirizak Osman was a soft-spoken warlord, a graduate of Brown, with a fondness for golf and summer vacations in the Hamptons. He kept his wife and children at a lavish home in Dubai but spent most of his time nurturing his telecom business: STC Puntland. His business was thriving at that time, partly because his main rival had its assets frozen by the United States after 2001.
Osman ran the business from a sparsely furnished compound where he could take shelter from family members and townspeople who collected outside the gates of his main home, demanding adjudication or electricity, or any of the thousand things that one takes for granted in a state that has a functioning government. Upon leaving, we took tea with him, thanking him for his hospitality and wondering what we could send him from the United States. He chuckled quietly and looked around his house, furnished like an Ethan Allen showroom. He said: “Six months ago, I ordered a container of cigarettes from an Israeli-American. I paid in advance $100,000, and he disappeared with my money. Perhaps you can look into that for me? And secondly, the road between Galkacyo and Garowe is in bad shape. I need it to be paved.”
As guests of a man who keeps a private army of several hundred, it’s tough to say no. We said we would do our best.
I shuttled back and forth to the Mideast until 2008, when I moved to Dubai to start a consulting business, leveraging my experience building overpriced spec homes for gaudy Russians back in Los Angeles. I rented a small one-bedroom apartment for a blistering $6,000 a month because it was the only available flat I could find. Compensation for white-collar expats who worked in Dubai was grossly out of proportion to salaries back home. The streets were dense with Italian luxury two-seaters and blacked-out Range Rovers. The city’s financial firms, eager to lure the investment capital of wealthy and reportedly impulsive Gulf Arabs, competed to have the hottest looking staff. Five-inch stilettos and pencil skirts were de rigueur office attire, and the red lacquered Louboutin sole was ubiquitous. One developer topped the competition by employing sensationally beautiful Romanian twins with bleached blond pixie cuts as his receptionists.
Every night promised a new soiree for some vanity project, from a gallery for abstract Iranian sculpture to an online shopping service where one could order books, iPods, cigarettes, all guaranteed to be delivered in less than an hour.
Kate was one of those luxury-loving expats: a 23-year-old Republican with an insatiable appetite for Missoni. She was the the brand manager for Veuve Clicquot, and she was running two or three parties every night. Every new boutique and new ayurvedic cosmetic line demanded a lavish bash with premium bubbly. The news of the American financial crisis was shrugged off. The Islamic prohibition on alcohol was shrugged off. This was Dubai, after all.
But by early 2009, things started to change, and no one wanted to talk about it. The opportunistic expats quietly bolted, even though Dubai’s oldest families thought it best to proceed as if nothing had changed. Conspicuous consumption began to slacken, and major construction projects went silent. The mass exodus of white-collar workers sent rents plummeting. The long-term parking lot of the airport was full of abandoned Ferraris and Range Rovers, left by fired expats who had no intention of trying out Dubai’s breach-of-contract laws. Bankruptcy laws were still a year away, and debtors’ prison was the rule.
Luckily, that summer, I was awarded a big project in the Yemeni capital. The coastal drive from Dubai to Aden is fantastic at any time of the year, but the summer monsoon is the best. The difference between Yemen and the other states on the peninsula is stark: Yemen has a large and impoverished population, larger than Syria and almost as populous as Iraq. Just across the peninsula in the Gulf States, per capita incomes are in the $40,000 range, while in Yemen it is closer to $1,000. The disparity and proximity make the restlessness in Yemen understandable. The first time I crossed the peninsula, it was on a barely discernible track. This time, it was on a freshly paved highway where armed trucks from police checkpoints pulled in behind me as escorts for each stage of the road.
I rented a single-story house made of stone quarried from the surrounding mountains, in the leafiest part of Sana’s diplomatic quarter. I used the main hall to adapt local 150cc bikes into little cafe racers. The landlady was a Yemeni whose age was impossible to discern behind her hijab. Her English, though, had a flat Midwestern cadence. She arrived once a month to collect the rent and to complain about the foliage in the courtyard. The occupant before me was the Dutch embassy, and they had very nice furniture, she told me. I asked why the garden was such an untamed wilderness when I arrived. She addressed me by my full name, and said that the issue was not Dutch gardening, but her disappointment in me as a tenant; as an American, she expected more.
My new assignment brought me back into contact with Haitham Alaini, who had in the interim years befriended a couple of Afghan businessmen who ran their businesses from the comfort of Dubai. Kabir Arghandiwal, his neighbor in a high-rise called the Capricon Tower, was an affable fellow who loved Ed Hardy shirts and Diesel shoes. His Lebanese wife was a social fixture on Dubai’s art scene who reputedly made Kabir promise in a prenup that he could never take her nor their children to Afghanistan. He and his extended family manage logistics contracts for the ISAF forces in Afghanistan, and he is a partner in a passenger air service, FlyDubai.
Saad Mohseni was the third member of this group of Dubai neighbors who were sometimes called “the axis of evil” by their American friends. As chairman of the Moby Group, which he founded, Saad Mohseni was Afghanistan’s first media mogul. Not only has he pushed programming that provokes religious conservatives and government officials alike, but he has also built his media empire on ad revenue, which is astonishing in a war-ravaged economy. From his first days as a USAID-funded upstart until today, when ex-State Department staff work to expand his media efforts across the globe, he has shown a keen sense of how to balance politics and profitability. A headline in a local paper recently called him “Top Adman,” which is less glamorous than “the Rupert Murdoch of Afghanistan,” but perhaps more accurate. His success has opened many doors, including a partnership with the real Murdoch for an Iranian TV network based in Dubai.
On a warm quiet Friday morning in 2008, I joined Mohseni and Alaini outside a Starbucks in the financial center. Mohseni was wearing the weekend uniform of Dubai’s ascending power broker: cotton walking shorts belted a bit high, sockless loafers and an expression of haughty indifference. His wife, Sarah Takesh, was dressed in cotton hippie-chic of her own design, made by her company in Kabul. She was reading “The Dirt,” the Mötley Crüe story. Saad made polite conversation; Sarah made a point of being engrossed in the history of rock. They bickered over the details of their coming vacation in the Maldives. They fussed about shipping damage to their custom-made furniture, in transit from workshops in Kabul.
Mohseni and Alaini had been brought together by an interesting and universally admired character in Middle Eastern politics: Tom Freston, who has been tireless in his efforts to connect Mohseni to media players and politicians in the United States. He brokered Mohseni’s partnership with Murdoch, and has been in many ways his mentor. It may seem curious that the man who was head of Viacom should be trolling war zones for protégés, but Freston is a man of many interests. While balancing his involvement in Oprah’s new network with Bono collaborations, he maintains an unusual itinerary. In 2009, before Yemen topped America’s National Security priority list, he came to Dubai, to discuss a TV station in Yemen with Mohseni, among other things.
As of last year the TV station was still a work in progress. Mohseni met me for brunch at Baker & Spice in Dubai. While Sarah chatted about spending the rest of her pregnancy in the south of France, I asked Saad how long it would take for a TV venture like his to be profitable. He said one year. Clearly, he wasn’t counting on hustling airtime to local businesses at the going rate in Yemen (about $5 a second).
Later that summer, I traveled to Kinshasa, the capital of Congo, which by most estimates is among the poorest countries in the world, despite vast natural resources. I was a guest at the home of Rudy Ilumbe, a 26-year-old entrepreneur who grew up in Helsinki. Ilumbe is a big man who speaks quietly and listens intently. His English is smooth and polished, but he is more comfortable in French. His house is a sprawling Palm Springs-style ranch filled with Vitra furniture and an empty swimming pool. When I asked if he ever has pool parties, he said simply, “Swimming is for white people,” and then laughed. Other than the stock white Land Cruisers that his security detail rolls in, there was a Range Rover, a Bentley and an Audi S5 in the carport, each slammed and rimmed to match one another. We took the S5 out onto Kinshasa’s rutted dirt streets to the place where Ilumbe had recently booked 50 Cent. Over the first of many bottles of Perrier that his entourage racked up, Ilumbe toasted me and said: “I was always taught that nothing comes without hard work. In Finland I believed it and I worked hard, but I have to tell you; in Congo, making money is too easy.”
Ilumbe is tight with the president of Congo. He has secured gold, diamond and petroleum concessions for his European clients, and his consulting firm is booming.
Later that evening, Denis Christel Sassou-Nguesso stepped up to the table, hat low over his eyes, swigging from his own bottle of Perrier. As is customary from Kinshasa to Beirut to Mumbai, each magnum of Champagne is brought to the table with lit sparklers and a shout-out from the D.J. The name of Sassou became irritatingly repetitive as the night wore on and the bottles stacked up. Denis Christel is the son of the dictator of Congo-Brazzaville, Congo’s neighbor. He has been accused of spending hundreds of thousands of dollars of the country’s oil revenues for shopping sprees in Paris, Dubai and Hong Kong. I excused myself from the table and moved through the packed club toward the restroom. Suddenly three guys materialized out of the crowd, escorting me through, and clearing the bathroom before I entered.
Somewhere toward the end of 2010, this story comes to an end with a bang, not a whimper. The day the cartridge bombs were discovered on planes in England and Dubai, I made some ill-timed inquiries to the offices of FedEx Yemen. The Yemeni military sealed the office, and because of my questions, I was told that I was no longer welcome in their country. Which is how I found myself exiled to East L.A. in late December, while across town at Soho House, Tom Freston convened a meeting with the owner of Yemen FedEx and other Mideast elite for a weeklong strategy session.
NYT Style Magazine:
Friday Night Fights
A series of underground fights in Manhattan lures a good-looking crowd, including the night's charismatic big draw.
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The message rang out on Facebook early on Jan. 28. Those in the know immediately understood its meaning. One of the few public tip-offs that the underground fights would take place that night, it was quickly deleted by the downtown “It” girl who had posted it, likely at the behest of Friday Night Throwdown’s shadowy promoters. This would be their seventh such night, and they had learned not to take any chances.
Friday Night Throwdown always takes place in a Manhattan warehouse space — this time, in one of the weird buildings under the Manhattan Bridge, in Chinatown. A regulation ring is built, elevated and roped off. A serious referee officiates. There’s an announcer. A bell. Admission is charged. Cheap beer is sold. And there is a ridiculously good-looking crowd. The promoters are obviously well connected. Models pack the ringside — serious big-name girls and their male counterparts. Through the models, photographers like Steven Klein find their way to the site. Indeed most of the audience has heard about the fights on a fashion shoot, or from a model friend.
It is all so model-centric that people call it “model boxing” or even “the model fight club.” But despite the “Zoolander” jokes, the fighting is very real. Competitors are serious: they have experience in everything from Golden Gloves to muay Thai, with the occasional legit street brawler in the mix. Once in a while, an effete runway boy boxes as a novelty. Some of the more serious competitors “model on the side,” but they’re fighters first.
The organizers make a point to say these are not fight clubs, model or otherwise, explaining that “’fight club’ implies bare-knuckled brawling until someone is dead. That is clearly not what we do.” According to one frequent competitor who sometimes goes by the name Rockstar Charlie, “It’s careful. The ref is calling things sooner than you would find in a regular bout. He actually trains at the same gym I do.”
Rockstar Charlie has, since he made his debut on the second Friday Night Throwdown, been the event’s big draw, driving the occasion from small happenings among friends to something that is suddenly bubbling into the mainstream. He recruits other competitors. And his charisma and style in the ring drive the nights’ energy. He is quick to point out that headlining for him does not mean fighting last. He likes to party after inevitably defeating his opponent, and hence schedules his own fights on the early side, so he can join the crowd and cheer and drink.
At 6-foot-3, with a chiseled face and some amazing tattoo work, the 20-year-old is as unique a New York character as they come. He’s a pretty boy boxer. His day job is working with 2-year-olds in a nursery school. He rolls with a tight-knit crew called the Big Gunz that has been together since freshman year of high school — all good looking, all boxers.
Lately, partly thanks to the friends he’s made at the Throwdowns, he has been getting into modeling and may sign with an agency. Asked about the obvious tension between boxing and making money off your face, Charlie doesn’t engage. “I like a good lifestyle,’’ he says, “and teaching nursery school and boxing don’t pay well.”
That may change. Outside of the occasional underground matches, he’s got a few coming national tournaments that could lead to the super middleweight title. He’s undefeated in his weight, and a title would propel him toward the Olympics and then a pro career.
His trainer Leon Taylor is his biggest supporter. As he puts it, “There isn’t nobody gonna beat him.” Coming from Taylor that means a lot. This past September, Sports Illustrated profiled Taylor’s career, which began in the late ’70s and ended in the ’80s after a stumble into drugs. Quote after quote from many of the sport’s greats make it clear that Taylor could have been on par with some of the biggest names in boxing. (Basically Taylor is a reformed version of Christian Bale’s character in “The Fighter.”) Charlie trains with Taylor five times a week and maintains an intense fitness regimen. But perhaps most worrisome to Taylor is that Charlie still parties hard. “Means I have to train harder,” Charlie says. “I have to make up for the drinking with extra work. But that’s just who I am.”
One of the people who understands Charlie and Taylor best is the filmmaker Michelle Groskopf. She first noticed Charlie and his crew walking around Park Slope, Brooklyn, seven years ago, when he was 13 years old. After a chance encounter on the subway, she began taking pictures of them, and then shooting film. “Charlie’s coach understands how seductive and distracting the attention and fame can be,” she says. “All eyes are on Charlie now, everyone is expecting something and he knows it. The challenge is to keep Charlie from suffering the fate of Icarus, of burning too brightly and losing sight of the title.” She is currently working on a documentary that explores this relationship.
Charlie and his trainer differ tremendously in their entry point to the sport. For a young black man like Taylor growing up in Brooklyn in the ’70s, boxing could mean an escape from the street, a way to create a future without the opportunity afforded by education. Charlie on the other hand, while not especially wealthy, is solidly middle class and well educated, the son of a prominent tenants’-rights lawyer.
Issues of class and race have always been central to boxing, something apparent even in the underground matches at Throwdown, where often it seems like trained whites are pitted against blacks or Latinos who have more of a street fighting style. “In America, there is a longstanding, complex relationship between the working class and the elite in youth culture,” Groskopf observes. “With the fight club, these identities are exaggerated. In that last fight, Charlie played the gentleman role in contrast to [his friend and opponent] Staxx’s street cred. It riles the audience.”
But she’s careful to point out that with Charlie and Staxx this is something that only exists in the ring. They are entertainers. When the match is over, the two show true camaraderie.
Groskopf was initially drawn to Charlie’s look and style, but she has trouble putting into words how that all fits into the context of pugilism. Is the allure of seeing beautiful guys punch each other out as base as it seems on the surface? One of the few models falling into Throwdown’s effete category is Marcel Castenmiller, who begins to grin at this question. Last October he and another model, Nicholas Hinman, jumped into the ring for a semi-unsanctioned — and very short — bare knuckles (because they couldn’t find the gloves) fight. Skinny as the two are, they really went at it. And despite a solid pummeling to the face, a day or two later Castenmiller posed for a Tommy Hilfiger ad, scratched cornea and all.
“I guess you know you’re not supposed to do it,” he says with a laugh. “So, you just have to do it.”
NYT Style Magazine:
The Gift of Information
Julian Assange, WikiLeaks' mercurial and complicated founder, had the attention of the world. Tracking him down for a portrait and interview wasn’t easy.
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Julian Assange and WikiLeaks have been jettisoned to fame or notoriety (choose your noun, please) not because of a passing political battle but for reasons much deeper: the desire to possess, distribute and devour information. Ever since the release in July this year of some 92,000 documents relating to America’s involvement in Afghanistan, an old joke from Communist times keeps spinning around my head. ‘‘We cannot predict the future,’’ announces the newsreader of Soviet radio reporting on the Politburo’s deliberations, ‘‘but the past is changing before our very eyes.’’ Now our understanding of the nature of the intervention in Iraq has also changed radically with the publication of a still more astonishing collection of 391,832 secret United States military field reports from the kaleidoscopic theaters of battle.
It has been the eye-opening, game-changing year of WikiLeaks. It started in April, with the release of video shot in 2007 from an Apache helicopter as a group of men on open ground in Baghdad were fired upon. Two of the victims worked for Reuters, as a photographer and driver, and the tragic nature of their deaths was made all the more horrific by the robotic, almost desultory voices of the airmen narrating their actions. The impact was immense. Julian Assange, WikiLeaks’ mercurial and complicated founder, had the attention of the world.
The man suspected of leaking that footage, Bradley Manning, is also thought to be central to the subsequent release of the Afghan and Iraqi documents. His precise motives may never be known, but this much is undoubtedly true: Manning was partly driven by the fundamental human urge to disseminate information, to let others know what he was reading and seeing and thinking from his dusty little military prefab under Iraq’s unforgiving sun. Previously powerless, small but watchful soldiers like Manning and other whistle-blowers discovered in the past half decade a new and efficient vehicle to spread the news: WikiLeaks. The Web site’s reputation grew quickly after its official introduction in 2007. Two years ago, it published a gripping account compiled by the BND, Germany’s foreign intelligence agency, on the links between organized crime groups and political parties in Kosovo. Observers of the former Yugoslavia had known about much of this activity, but the meticulous Teutonic report quickly became an invaluable guide to the grim realities of one of the most unstable areas of Europe.
Assange understands full well the significance of these documents and their surreptitious transmission, and that knowledge translates into power and influence. For most of history, government has enjoyed an easy superiority in adjusting the ebb and flow of information. Now the rules of the contest have changed. In contrast to the petabytes of data flotsam, half-truths and speculation that drift daily around the Internet, WikiLeaks spews forth unvarnished, sensitive truths. Assange’s extraordinary project provides transparency unbridled. Historians, journalists and civic activists will continue to fish in these rich informational waters for some time if the organization does not collapse.
For the world’s militaries it is, of course, a less welcome operation. The Defense Department’s official response to the Afghan documents thundered, ‘‘We deplore WikiLeaks. . . . We know terrorist organizations have been mining the leaked Afghan documents for information to use against us.’’ At the same time, the Pentagon suggested that ‘‘the release of these field reports does not bring new understanding to Iraq’s past.’’ But if they do not bring new understanding to the past, why are they damaging at all? Is this not the curse of power, forever compelled to conceal and dissemble? In his recent memoir, Tony Blair berates himself for introducing a Freedom of Information Act. ‘‘You idiot. You naïve, foolish, irresponsible nincompoop,’’ he writes.
The future, as the Soviet joke reminds us, is impossible to predict. But governments, corporations and individuals are now bracing themselves for battles royal over who controls the gifts of information and narrative. Revelations about the past will continue to bloody the Internet’s pathways. At the same time governments will stuff data back into Pandora’s box, while individuals find new electronic routes for data to reach the public. Assange and his crusaders may be good. Perhaps they are bad. But they have taken everyone’s urge to tell a story to a new and almost wholly unfamiliar level.
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