My New Site! For Those Who Notice

November 20th, 2011

Check out my newest project: For Those Who Notice.

All based on inspiration and the latest and greatest from the fashion world.

Click here to check it out:  http://www.forthosewhonotice.com/

For Those Who Notice is a cheat sheet of fashion’s most influential inspiration. The exclusive FTWN content is instigated by the world’s best designers, stylists, hair stylists, makeup artists and casting directors among others. We bring you unbiased reports of what is most relevant in luxury fashion. FTWN is inspiration for fashion and beauty industry professionals as well as fashion fanatics.

FTWN’s reports are visual-based marketplace assessments (sounds SO professional) written and edited by stylist Sally Lyndley. (see bio below) For the past ten years, Sally has been creating an internal company version of these reports for her own strategy. Working with these reports has significantly increased her company’s competitive edge and profit, so she decided to make them available here on this website exclusively.

For Those Who Notice is designed to empower CEO’s, Design Teams, Marketing Departments, Art Directors and other roles directly affected by the luxury fashion world. FTWN’s seasonly reports are published 2 weeks after the collections so it’s readers have an immediate sense of the marketplace drift in fashion. Beyond simply reporting, FTWN includes tools and suggestions for implementing its information into the reader’s role in her/his company and key demographics for the company. The main objectives of FTWN reports are to create a competitive advantage and increase profitability for it’s readers.

We focus our content to the most influential information and the most significant “moves” by the fashion elite being made in luxury fashion, enabling our readers an advantage in designing more powerful strategies for their design, product, buying and marketing plans. FTWN gives reader’s not only insight into what the most influential teams in fashion have created but also what inspires them. This allows our reader to choose to be inspired by the same ideas rather than just blatantly copying designer’s clothes and accessories. Being able to utilize a designer’s inspiration and making it their own, instead of reproducing exact items from a collection, allows our users the freedom from copy right infringement law suits, and the ability to challenge and out perform their competitors with more original ideas.

We created FTWN as a “stylist and fashion expert” living on your computer via this website. For Those Who Notice is available 24 hours a day 365 days a year. With top stylist’s rates reaching into the high six figures for a season’s work, FTWN’s reports are the cliff’s notes of a fashion consultancy available to refer to time and time again whenever needed at a fraction of the cost of a stylist.

For Those Who Notice’s ultimate purpose is to to help company’s succeed in their market sector by making more money. Being ahead of “trends”, inspiring trends or being smack dab “on trend”, translates into higher revenues for our readers. The reports empower the readers to make more informed choices resulting in larger incomes for themselves and their company.

What is our assessment of influential or the most relevant? How do we differentiate the “best”?

Never follows, always leads, these designers and their teams don’t follow other designers. Our influencers have their own ideas, not following the herd and not using a trend reporting website to choose their references for next season. They are looking at pop culture, history and their favorite arts for their own inspiration. Yes, the group who are leading the pack tend to flow in the same directions, but that is also because they are all friends and acquaintances working and playing with the other influential stylists, art directors, hair stylists and makeup artists. It’s all driven by the a small circle of people.

Not scared of anybody, criticism, never driven by reviews. Not scared to get panned or harsh words from the journalists. Our influencer’s could care less. Because they also know, many journalists are not even qualified to judge their work.

Financially successful. These brands sell, and these designers get paid the big bucks.

Influencers enter a new brand and within seasons the company is flourishing.
Leading designers and their teams create sales and press increases the company has never experienced before.

Shot by most powerful editors, all of the powerful stylist want to shoot these designer’s clothes, whether they are advertisers are not. Another way to separate the leaders and the followers. If the clothes are not being shot in the top mags, the designer is irrelevant.

Supported by fashion’s key players, this group of people play together and stay together. They watch each others backs and recommend each other for jobs.

Impossible to ignore. If you choose to ignore this crew, you’ll miss something and be seasons behind in a flash.

 

Why we created For Those Who Notice:

I spent many a day in the design studio or corporate head quarters of some of the world’s largest brands watching them shake their heads in confusion as I began to talk about the latest inspiration from the shows.  All of my client’s teams had been working with the same large “trend” reporting companies but none of them knew what the biggest themes were from the shows not even a week before.  The confusion from the teams showed in their design, new products, marketing strategies, sales presentations and PR pitches.  I started working with the reports I created here at FTWN with my clients and suddenly lines were focused and marketing plans began to work.  Sales for my brands were increasing by as much as 205% and as little as 40% per season.  My companies were seeing 100-200% increases in celebrity and editorial coverage.  So this past year, I thought, “Hey, let’s package this info in a pretty, affordable little website and make it available to the businesses that need it.”  And here we are.  I created these reports for myself years ago when I started in the beauty business.  I needed for myself a quick read of the themes and most influential players in luxury fashion to consult with the product team and create a marketing strategy.  Fourteen years on, and I am still working with these reports every season.  They are the basis for my inspiration every season for my magazine editorials, commercial styling, design consultancies and every other fashion job I rope myself into.  I am happy to finally be sharing them. Here is the short list of my own personal reasons for creating the FTWN reports for my business and my clients:

ORIGINALITY
Don’t be disrespected or even worse, sued in court, because you are just ripping off someone else’s idea and product.  That’s the perfect way to NOT succeed or move forward in your work or career.

Stop ripping off exact looks from shows, inspire yourself to think and create new ideas and products by mixing references and letting the fashion’s elite bring something fresh into your vision.  I use these guides as a starting point for my thinking, not a finish line.  One reference leads me to another, and before you know it, I am onto a new subject, person or era that is exciting and unseen from the season before, and putting me ahead of the herd.

The PERFECT Edit AKA Save YOUR TIME!!
Grab a coffee with your boyfriend/girlfriend instead of trying to decipher another useless trend page that has nothing to do with relevant fashion.

With the vastness of the internet, no one needs ANOTHER endless report to read or blog to troll for hours.  This is an edit of the best, so you don’t have to spend your time reading between the lines.  Our references are clear and edited so you only see what is working in the market, not random, irrelevant information.  On most sites, there are hundreds of shows to sift through.We are not going to send you irrelevant information on teenage girls nail art or what a college student is wearing in brazil.  (see our demographics section on more info about “street” style)   We are the cliff’s notes of fashion so you can see the world’s best within minutes.

MONEY HONEY
Western civilization is hitting a double dip recession, and in these times who wants to pay $25,000+/year on a “trend” reporting subscription or service that is irrelevant and un-edited by an expert.  Our expert reports and soon to launch subscription is one tenth of the cost of every other trend report on the market, and our clients see an average increase in sales of 98% after working with me and the information in FTWN reports for 2 seasons.  We are committed to saving and making you MONEY AND TIME, two very precious items in the current economy.  Your budget manager and accounting department will thank you.

IT IS POLITICAL
Some people rely on magazines and fashion blogs for their references and inspiration. The only problem I have found with mags and blogs is the underlying and unseen politics of advertising.  In some magazine, there are VERY few products featured that are unrelated to advertising companies.  What does this mean? Almost no magazine actually has an editorial voice anymore, they are expensive, pretty catalogs.  Don’t get me wrong, I am a fashion geek who LOVES and collects magazines, but I know the business and have learned to read between the advertising lines.  Most people don’t realize that the editors and journalists are reporting on their advertisers, and for the most part, not what really interests them.  That’s is why we have chosen to not feature advertisers for FTWN.  We never want our content to be swayed by who is giving us advertising money.  Instead we are taking the route of subscriptions.  Charging a very small fee for subscriptions/memberships allow us to produce this site for you.  WE will keep our content PURE.  Otherwise, all of the relevancy is lost, and our content will suddenly become like all of the others. Booooo!

BE ON TIME
The current fashion influence on the mass market trickles down over roughly one year.  The early adopters, or Fashion Fans, catch on to the designer themes and inspirations about six months after the runway trends, as they study websites, blogs, magazines and coverage of the designer’s shows. Celebrities also drive the trends for the Mainstream as much, if not more, than most influential fashion magazines.  Yet the celebrity stylists are not part of the influential posse driving the inspiration, so their fashion direction for their star clientele is generally also six months behind the themes we focus on here at FTWN.  The ready to wear designers, who are NOT influencers or originals, are also following our list of talent on a six month timeline.  This is why “trend” report content is out of date at least six months.  All of the “trend” reports we have encountered are reporting trends from over 100+ designers, while only 15 designers are influencers.  Because they account for trends from designers FOLLOWing the trends, not setting them.  Mainstream audiences embrace runway inspiration created by FTWN’s influencers about one year after they have seen the imagery and themes repeatedly in their favorite magazines and on their trusted blogs, on celebrities they like, and in the store windows at their local shopping haunts.  Repetition of the inspiration and themes allows the mainstream to get comfortable with the new ideas in fashion, and then they choose to buy.  We will point out when is the right time to move on an inspiration for your reference.

 

How to use FTWN in your role:

CEOS & Executive Teams:

  • FTWN’s reports allows you to read the marketplace quickly.
  • If your company is looking for collaboration designers and partners, this is the A-List of the most powerful people in fashion, perfect for creating powerful partnerships.
  • We know creating strategies is key to achieving results, FTWN’s reports will help ensure your strategies are relevant to what is happening in the industry.
  • Your executive and creative teams look to you for leadership and guidance, and our reports help you understand how to support and encourage them inside of the themes of the moment.
  • Many companies are struggling with creating influential blog and online editorial content.  The information included in the FTWN reports, gives online teams a starting point for planning content.
  • FTWN has worked with many companies to create inspiration reports for the company culture.  The reports in our e-commerce store are a perfect gift to rouse inner company creativity.
  • Assessing the talent of your design/creative/marketing teams is hard to do when you don’t know what the changes and creative moves of the fashion marketplace.  FTWN’s reports give you the cliff’s notes of fashion’s biggest trends and key items so you can make an assessment of whether your teams are capable of creating the relevant products and marketing materials to correspond. Also great for executives to examine if the teams can understand and interpret the inspirations into profitable product and imagery.

 

Creative Directors:

  • Work with FTWN to create strategies seasonally with your team using the references, hair, makeup, models and styling from the pages of the reports.
  • These reports are a starting point for inspiration and working through what will work for your company’s demographic.  Starting with the season’s inspirations, creative teams can add and mix relevant references to invent new trends.
  • Reference Media (80-100 books & dvds recommended per season, included in the References Report) give inspiration for campaigns, in-store imagery, store concept, packaging, e-commerce, events and product.
  • Use FTWN’s reports as a way to assess your creative teams aesthetic and ability to translate the runways, and whether it is right for your company and your team.

 

Design Teams:

  • A resource for inspiration to apply to your demographic (existing or aspirational).
  • Observe the themes and references to create something original instead of just knocking off exact items from other brands.
  • A starting place for new inspiration, these thoughts and themes can lead to new references to drive your design forward.
  • The perfect edit of research and references behind the best shows of the season.
  • FTWN’s reports also help you know what NOT to design, what trends to pass on, by not covering them.
  • Get on the same page with all of the members of your the design team by scheduling meetings to review and work with FTWN’s reports.
  • Think about your customers concerns, situations, body type/likes and apply accordingly, which looks, silhouettes, colors, fabrics and themes will work for them.
  • Time your collections accurately for your demographic.

 

Art Directors & Graphic Designers:

  • FTWN’s reports are produced and available faster than any other trend reports or magazines on the market.
  • Use FTWN as a reference guide for ad campaigns, e-commerce strategies and swipes.
  • The reports are also a reliable source the season’s most relevant hair, makeup, models, clothing, styling, and accessories, when creating the briefs for teams on ad/commercial jobs.
  • FTWN’s Color report is useful for choosing text colors and the References report is useful guide for layouts.
  • Themes from designer’s collections may fuel your inspiration for images and photography direction on campaigns and many commercial projects.
  • Many art directors get tear sheets from magazines.  Only problem with this method is magazine editors get inspired by the designers so the pages are at least 6 months behind. With FTWN, you can pull ahead of the trends and be first, or in sync with magazines.
  • If you work in coordination with stores, FTWNs references report is a new tool in coming up with concepts and our specialized clothing and accessories reports will give you an idea of key items to feature in the windows.
  • Booking models can always be a tough if you are not working with an amazing casting director.  FTWN created the Model report to give you a cheat sheet of this season’s most used girls on the runways. The report also includes the model agency information to make the casting process easier.

 

Marketing and PR Teams:

  • Plan the season’s strategy with the most vital themes and silhouettes in mind.
  • Pitch and suggest stories and products based on the season’s fundamental inspirations and items.
  • Know the themes of the season to speak about in Editor Meetings after reading FTWN’s reports.
  • After reviewing FTWN’s reports, prioritize the most essential items for Press Days.
  • Pull suggestions for editors and stylists inside of the appropriate themes with the background created from reading FTWN’s reports.
  • When working on Event Planning, FTWN’s reports, especially references, provide a powerful starting point for themes and ideas.
  • Our reports let you know what the editors and magazines/celebs are going to want ahead of time, so you can appropriately stock your showroom and shoot key pieces and themes for advertising campaigns.

 

Editors:

  • The FTWN reports are a cheat sheet to prepping and planning around the season’s most vital and significant themes, looks and designers.
  • Our reports also provide endless inspiration for editorial planning for front of book and main well stories as well as online videos.
  • Several sections of the reports focus on Models, hair, makeup, giving our editors a cliff’s notes to the season’s most important models and the major looks from the world’s best hair and makeup teams.
  • Working from our Designer reports is a quick way to do look requests.
  • The Reference report, among others, gives online editors some starting points for creating their web editorial calendar for the season.

 

Celebrity Stylists:

  • Planning for your clients is easier with the FTWN reports as a cheat sheet.
  • Mark the reports with what works for your clients look, body and coloring, as well as the themes you know will inspire them.
  • Know the hair and makeup trends before consulting on your client’s look to keep them on time with fashion inspirations.
  • Our FTWN Reports include only the most impactful designers from PR standpoint, and in achieving Best Dressed coverage for your clients.
  • FTWN is the A-list of fashion, a good place to start requesting for the clients looks for events and red carpet.
  • We provide an essential guide to speaking trends powerfully when quoting for editors and blogs about your work and your clients.

 

Buyers:

  • FTWN’s reports are fashion’s cliff notes of this season’s significant themes, not swayed by politics of reviews or the publisher’s advertisers.
  • A read through the reports we have created will quickly inform the reader on which key silhouettes, colors, fabrics and items to buy into for your key product areas in your store.
  • Plan your buy according to what works from your company’s demographic while reading FTWN’s report.  The edited information gives you the most powerful overview so you can edit relative to what your customer wants.
  • This is the A-list of fashion items, use the reports as a cheat sheet for ensuring you a covering this season’s principal “it” items in clothing and accessories.
  • FTWN’s Reference Report helps you quickly manage which themes you want include in your buy, and which you would like to avoid.
  • Working with FTWN’s reports, you can focus your vision for your company and customer by being clear about what themes and items work for you and which do not.

 

Sales Teams:

  • Cheat sheet of fashion’s relevant themes. not swayed by politics of reviews, so you can speak powerfully into this season’s most influential trends when speaking to buyers about the collection you are selling.
  • Quickly know which key silhouettes, colors, fabrics and items to buy into for your key product areas for company store buys and prioritizing production from the line.
  • Use the reports as a reference tool for highlighting and crossing out which silhouettes, themes, colors and items work for your customers, and which do not work.
  • FTWN’s reference report is a principal tool for creating Trade Show and Sales Event plans and themes.
  • When presenting lines to the buyers, FTWN reports give you the information needed to organize your look books or looks on models based on the season’s essential inspirations, colors, fabrics, etc.
  • For online buyers, FTWN reports provide background for choosing influential ideas, silhouettes and colors for the web store and the styling on the site.

 

Fashion Fan-atics:

  • Use FTWN as a guide of the most important purchases for your fashion archives from clothing to accessories to strategic beauty buying.

 

 

Understanding DEMOGRAPHICS

The current fashion influence on the mass market trickles down over roughly one year.  The early adopters, or Fashion Fans, catch on to the designer themes and inspirations about six months after the runway trends, as they study websites, blogs, magazines and coverage of the designer’s shows.  Celebrities also drive the trends for the Mainstream as much, if not more, than most influential fashion magazines.  Yet the celebrity stylists are not part of the influential posse driving the inspiration, so their fashion direction for their star clientele is generally also six months behind the themes we focus on here at FTWN.  The ready to wear designers, who are NOT influencers or originals, are also following our list of talent on a six month timeline.  This is why “trend” report content is out of date at least six months.  All of the “trend” reports we have encountered are reporting trends from over 100+ designers, while only 15 designers are influencers.  Because they account for trends from designers FOLLOWing the trends, not setting them.  Mainstream audiences embrace runway inspiration created by FTWN’s influencers about one year after they have seen the imagery and themes repeatedly in their favorite magazines and on their trusted blogs, on celebrities they like, and in the store windows at their local shopping haunts.  Repetition of the inspiration and themes allows the mainstream to get comfortable with the new ideas in fashion, and then they choose to buy.

“Street” style is informed by luxury fashion, by the way.  Yes, here and there a designer will see an amazingly self-styled person on the street and be inspired.  But it is very rare.  Every big “trend” I have seen in the past few years is a trickle down from the most influential shows.  Because the influential kids on the street are inspired by the best shows, and buying their product at the mass market, which is usually knocking off the runways.  See how circular it is?  I think following the “kids in street” vibe is a mistake for most companies because the “trends” are usually a VERY watered down version of luxury fashion.  The street fashion is only useful if your company has a VERY specific subculture it is selling to, i.e. Steampunk, hip hop teenage girls, cowboys, etc.  I do think the clothing being worn by stylist, editors, buyers and

Here are the Categories I have been able to pinpoint inside of demographics for considering the timing of working with FTWN’s references:
Lifestylers
1mo-3mo.
Influencers. Very rare, these are the leaders of the pack and industry leaders who mostly buy luxury brands.  IF they are buying mainstream, less expensive products, it would be at a place like H&M or Topshop, and it would be because they couldn’t afford luxury yet.  Fashion is their job, their life or both.  Their tastes move fast and furious.  They shop on websites like net-a-porter.com and Moda Operandi and have shoppers at all of the most important stores.

Fashion Fans
3mo-6mo
Early Adopters, but still followers.  This demographic considers fashion to be a regular sport/hobby.  They follow the runway shows and read blogs and fashion magazines on a daily basis.  They love to talk about and obsess over fashion, it’s key players and magazines.  This is the group that camps out overnight in front of H&M for the latest designer collaboration.  They shop mostly contemporary brands (Marc by Marc Jacobs, DKNY, Coach) and high street or fast fashion like H&M, Topshop, Forever 21.

Mainstream
6mo-12mo
Mass market.This is the most common and profitable consumer base.  They like fashion, but follow it very loosely.  They mostly are inspired or encouraged to dress and shop by celebrities, and what they see in the store windows, magazines or catalogs.  If a company can identify this demographic’s specific style, it’s quite easy to adapt the runway inspirations to the mainstream client.  The Mainstream is where the real money is.  That is why luxury brands have fragrances, and market them separately for the Mainstream customer rather than how they market the ready to wear and custom luxury to the fashion forward customer.

 

 

Aspirational versus Reality

Whenever I have consulted with a company, whether it be a mass market brand, luxury brand or action sports brand, success is always based on being grounded in reality about the company’s demographic, current and aspirational.
Successful design and marketing, which leads to high revenues, is a result of knowing your demographic inside and out, and being “real” and honest about who he or she is, time wise, style wise, age wise and income wise.  A company without an idea of their demographic usually has INTENSE identity issues.  Marketing may not match the product and it leaves all shoppers confused about the brand and what they stand for.
If you are working with a company that is attempting to RE-brand, please be sure to realize it will take one to two years to begin to see the revenue return, re-branding always results in a DEcrease in revenues first.  While publicity sees an increase, the executives, creative teams and sales teams must be willing to ride out the decrease in sales while your new demographic is discovering the brand, and the old demographic moving on to a new shop.  Be clear about the differences in the customer who IS (AKA who is actually in the store buying the product) and who you WANT to buy your product.  IF the customer who is buying your product IS or WANTS to be the customer you are designing and marketing for, than you are in very good shape. IF not, get the design, marketing and sales teams together and get on the same page about the customer who is actually buying and the aspirational customer.

Bodymap

October 19th, 2011

 One of my favorite London street brands. the OGs, BODYMAP!!

    

   

Pat McGrath

October 18th, 2011

 Another one of my all-time heroes.  I think she is the best makeup artist in the world.

 

http://streeters.com/london/makeup-artists/pat-mcgrath/covers

Mert Alas and Marcus Piggot

October 17th, 2011

 I heart Mert and Marcus.  And here is a small collection of some of my favorite pics they have created.


      

      

      

 

http://artpartner.com/artists/image/mert-alas-marcus-piggott/

Carine Roitfeld

October 11th, 2011

The first time I saw Carine, she was wiggling across the street in NY on super outrageously high stilettos and a big fur coat.  She was on her way into a show during NY Fashion Week and I was in full stalker mode.  This was 1997 and I had saved all of my money to fly to Manhattan and sneak into fashion shows with my boss at the Dallas Morning News.  At that time, I knew Carine’s name from some of my favorite editorials in The Face (Eva Herzigova as a butcher?!) and her work with Tom Ford for Gucci.  Seeing her in all of her aloof fabulous-ness made me even more obsessed.  She instantly became one of my personal fashion icons.  Perfectly mussed, “just got laid” hair and a smear of black eyeliner with a chic pencil skirt and always a insanely cool jacket was the injection of chic I needed.  When she took over Vogue Paris in 2001, I started collecting the issues, carting them around with me all over the world.  She is probably one of the only stylists/editors to resign/get dismissed from Conde Nast and come out smelling like a rose.  Between Barney’s NY and Chanel, she is killing it as well as plotting a new bi-annual magazine.  Looking forward to adding her “Irreverent” book to my fashion library.

 



 

 

 

 

 

  Purchase Carine Roitfeld’s Book Irreverent

 

 

Fashion Hero: Steven Meisel

October 10th, 2011

I could write for days and days about Mr. Meisel.  His American Vogue covers are part of the reason I picked up a magazine in the grocery line at age 11.  I had the pleasure to assist a stylist on a campaign with Meisel in the early 2000s, and my affinity and respect for him grew even more after that experience (sigh).  His Italian Vogue cover in 1998 (?) of Karen Elson on a carousel sealed my complete and utter infatuation with becoming a stylist.  Here are is a brief look at some of my favorite Steven Meisel moments for Italian Vogue:


Watch Behind-the-scenes making of this Steven Meisel War Cover


Buy Steven Meisels’ Vogue Italia Cover Book at http://www.mallard-janvier.com/index.php?page=order

Fashion History: The Face

October 6th, 2011

The Face magazine was part of the reason I fell in love with fashion.  I stumbled upon it in 1996 while combing the magazine section of my local (and now defunct) Borders Books in Dallas, Texas.  I had bought and rummaged the fashion section magazines to boredom, and when I moved over to the music section (my favorite love after fashion) I found this jewel of a magazine.  I started collecting them immediately, and researching the team behind it obsessively.   My research led to little information, but I did find out that the founder was a dude named Nick Logan.  He had previously edited (and maybe started?) an english music magazine called Smash Hits. I was especially enamored with  The Face’s the comic strip Jamie Hewlett (who illustrated that band the Gorillaz and Tank Girl) was doing for the back of each issue called “Get the Freebies”.  I even cut my hair and dressed like the female super hero in the comic for about a year. Later I learned my mentor and styling hero, Katie Grand, was at the helm as Fashion Director of The Face, after leaving Dazed & Confused.  She started Pop magazine, another of my fashion mag obsessions, while working on The Face.  Please go on ebay and buy any old issue of The Face you can get your hand’s on.  They are brilliant and totally worth collecting.

 

 

     

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Remember Dutch Magazine?

September 26th, 2011

I was obsessed with this magazine as a teenager. Sadly it closed down many years ago, but one can still find issues on the good ole ebay. Here are a couple of images I found that I still love:

Music Composer Hero: Steve Reich

September 8th, 2011

He is one of the most influential composers to me and when I discovered his music in my early 20′s I became obsessed.  Still am.  In my humble opinion, Phillip Glass knocks this guy off hard.

http://en.wikipedia.org/wiki/Steve_Reich

Fashion Icon: Nian Fish

September 6th, 2011

 

My surrogate fashion mother.  And the woman who shoved me into the high speed world of fashion, as well as inspiring me to leave the KCD nest.  Word can’t describe how I feel about this woman or what she has done for me.  I love you Ni!! (PS yes, I can be cheesy and mushy, I am a girl after all.)

Check out this interview from models.com:

As a creative director and KCD creative consultant, Nian Fish is among fashion’s most powerful women, but producing shows for the industry’s biggest names is only part of her story. With three decades of experience, her reflections on the world of fashion are insightful and serve as an incredible history lesson for anyone interested in the world behind the seams. From globalization’s effect on the business model, to the rise and fall of the supermodels, Fish has witnessed every trend and movement from the inside out. Her insider perspective has provided her with numerous stories you’re sure to love: everything from the day Calvin Klein selected Kate Moss as his muse to the very beginnings of KCD, each one told with wit and intelligence.
A models.com interview by Wayne Sterling
Photo by Stephan Moskovic 

For people who have heard the name Nian Fish but are not exactly sure what you do could you please give them a frame of reference on your work?

What I do is I call myself a Creative Director. People often ask me what is it that I creative direct. I actually have a unique job because I’m a Creative Director in fashion and I’m also a Producer. To my knowledge this not a common combination. It’s not like there’s no one else doing what I do. I’m certainly not that arrogant but there are very, very few people like me. I actually like both aspects of my endeavors. I creative direct fashion shows, fashion events and fashion films. All of those are image making vehicles for designers. This is all minus their advertising. I have done advertising before, but not currently. I’ve been doing this particular niche for over 30 years.

This was starting with Keeble Cavaco and Duka in the 80s?

I actually started in the 70′s. In the 70′s I was the assistant to Keezia Keeble (she’s the K of KCD) and to Paul Cavaco (who’s the C of KCD). They were married and they were the number one stylists and the only fashion producers in America in the 70′s.

True fashion pioneers then

They were pioneers. Keezia Keeble also had a PR company. This is when there were like five stylists around. It was Paul and Keezia. The Goodman sisters, Wendy and Tonne Goodman, Julie Britt, Iris Bianchi, Barbara Dente, I think and Patti Wilson. That was kind of it and these people did everything. We did every cigarette ad and every editorial. So I was Paul and Keezia’s assistant and they trained me. I left and I was a stylist in the 80′s. During the 80′s Keeble Cavaco and Duka formed. Duka was Keezia’s third husband, Paul was the second. Unfortunately John Duka died. Keezia died a year later. Paul sold the company and then they brought me in as Creative Director of KCD. I was Creative Director of KCD for 18 years and I am now Creative Consultant. I still work for KCD as Creative Consultant and I have my own company.

I finally identified what I love so much about what I do. When I’m doing fashion shows I’m doing theater. That’s why you admire someone like Alexander McQueen because he was really doing pure theater. When you are doing Calvin Klein and it’s a white set and white light, there’s still theater in there. In theater you’re putting together your ingredients, so you put together the stylist, the hair, the make-up, the set designer, the music, the lighting… you ask, what’s the seating… what’s the cushion. Sometimes I design the elements, sometimes we bring in collaborators

and we design the environment to frame and amplify the designer’s vision for that collection. And this becomes a 10 minute piece of theater. It’s the branding. You want to know that when you walk in it’s the Calvin Klein show. You want to know when you’re walking in that it’s a McQueen show… just from the atmosphere… what’s the music… what is the the set design… what is the smell.

And of course for the collection you want to work very, very closely with the designer and the stylist to see how the collection is shaped for that season. So I love my job. It’s a unique job. Shaping it means helping to edit, shaping the casting, shaping the music, the set design so I consult on all the aspects of a theatrical experience. My favorite thing to do is to put the team together for that designer. Like seeing the link between Melanie Ward and Calvin Klein. Now the stylists are so very important to our business. They are also becoming empires, all of them. In the old days many designers wouldn’t even need a stylist. But now every designer including someone as incredibly talented as Marc Jacobs, who is himself a fantastic stylist, has a stylist. He’s running an empire so he will have a stylist.

So from shows to events… let’s say Marc Jacobs is doing a perfume launch, you have to have a process. What’s the smell of the perfume? Gardenias. Oh let’s do a gardenia filled pool on the pier. Let’s create an urban garden. To me it’s still theater. I just love the theatricality of it.

Theater is a wonderful metaphor. Fashion shows are in a way, the only mass market theater experiences left in our media world.

There was a time when I thought they would do away with the whole fashion show idea when Helmut Lang had put his show on the Internet with Kristen Owen as his one model… it was in the mid 90′s. I thought, my god, that’s it… that’s the end of my job… everything is going to the Internet! But then again I thought… No… Everybody wants to see a model walking in those clothes through a dimensional space and see her back, see her turn around and see what the back of that outfit looks like. They want to see the diversity of the hair and make-up… The theater is what people crave and get enrolled into.

And then there’s the social theater of who’s in the front row… the cliques… the pecking order…

The backstage theater. The theatrics of the backstage are probably the most fascinating even though we see it every where now… but to see Guido backstage creating the magic of the hair is amazing theater. You make a really good point when you say the theater is everywhere. It’s in the front of the house, the back of the house, it’s on the runway, it’s in the models rushing from one show to another!

And all of this is consciously orchestrated? In detail?

People have no idea. When a designer is picking a time slot. The time slots alone are masterminded. Picking a time slot for a designer is very much knowing how to move around the conflicts. You have to be conscious of the tastes of the different designers around you. That real estate of time slots, it takes place in every city. And there are wars over it. Of course with the younger designers they get the short shrift and it’s the seniors who have their real estate and you cannot mess with their time slots. It’s all the question of clout. It’s that terrible expression: “A-list”.

You made the point that the Internet changed the perception of fashion. There’s now this Internet niche cult where people can create their own little brand of mini-stardom.

Yeah. Like Tavi. Creating a cult around a 13 year old blogger. The people speak and you’re helping with that, right? I was just talking about this at lunch today with these very young people and they were asking what it was like before. People always say that in fashion everything is a business now and it’s almost like a complaint. But I don’t like to complain about what is. It’s the reality. Fashion is really really global now . Every kid who’s 9 years old, knows the Chanel bag.

Do you miss the era of exclusivity?

Yes. I try not to go too nostalgic but I have my beautiful war stories. What I love is I have been in the business for 30 years so I have seen momentous innovations. For instance hip-hop was a new movement. English rock n roll was a movement. In fashion I witnessed a lot of movements. I witnessed the turn away from “runway models”… there were amazing runway models, a lot of them were black, a few were Asians… I’m talking about the 70s and early 80′s… and you only booked them because they could walk and they were graceful and they were a perfect fit. But you never saw them in the magazines. And suddenly starting in the late 80′s they started using girls who were editorial and you had to teach them how to walk and then there were no more runway girls.

I love that! Linda and Christy at first had to be shown how to walk!

They were print girls that we turned into runway girls. So I witnessed the shift to the print girls. Then I witnessed the shift from the Amazons like Nadja Auermann, Claudia, Cindy… These big powerful women… to the waifs. I was there when Calvin did it. It was literally Nadja Auermann walking in. She was coming in for a go-see. Believe it or not Nadja still did go-sees then. So it’s Nadja who’s like 6″ 1′ and va-va-voom. She’s wearing this beige tone on tone floral chiffon dress with high heels and she’s filling it out. Calvin has her walk. Kate is waiting in the wings. She’s 16 years old. Calvin says “Put it on Kate. Put her in flat shoes” and suddenly this dress stood away from her body. The flat shoes brought the whole thing down and it became this kind of cool thing and he said “We’re changing the casting “. That was it. It was New York that actually changed that moment in fashion. That particular show. It was these diaphanous dresses that would have been filled out by an hour glass shape.

By girls who would have come power stomping down the runway.

From a 6″1′ voluptuous girl to a 5″ 7′ boyish body on a post-pubescent girl and suddenly the look changed. The hair and make-up changed. The jewelry went off. I was quoted as saying, in the NY Times that jewelry was out and got all this hate mail from jewelers. I felt so bad but I was just quoting a trend (laughs). That was always the part that was exciting to me. Witnessing the movements. The Belgian movement. The Brazilian movement. The Russians.

Then the army of girls where every model in the cabine had the same face. The Clones.

Who really started that was Prada. I give them credit for that. They were combing girls in these small outskirts of Russia. I also witnessed the change of designers being bought out by these big conglomerates and suddenly having to pump out those handbags and perfumes, like really pumping them out. I don’t know if people know…have you ever written that the real game of fashion imaging is to make the designer’s name so they can sell their licenses?

I think after LVMH super-sized everything on a global scale the word “luxury” became a part of the standard vocabulary. Before that the word kind of expressed the idea of something unattainable. To their credit the conglomerates convinced the public that luxury was something the average person could also acquire.

You’re bringing up something really interesting because fashion has always been there. We’ve always worn clothes. Whether in 16th century France where they were dressed to the nines and the men had wigs, fashion has always been there. But for me in the 1960s fashion really exploded globally. It became “Pop ” with Twiggy in Vogue and the Cardin look and all that. What is fascinating to me now is that there is so much creativity with designers but you look at any given airport and what are people wearing? J Crew. No offense to J Crew. It’s a great company. There is a uniform going on in the West. Especially in America where there really is a kind of uniform that allows you to “disappear” yourself. But Hermes is there for the people who really want what Hermes means. But what percentage of the population is that?

Probably 0.05 %… but maybe the thinking is, if you are Hermes you just need to capture that ultra-niche market of 0 .05 %, out of billions and billions of people. And then your profit margins are OK. In that regard do you think a very personal way of seeing and feeling fashion, the way Calvin Klein did… is this still possible in an increasingly corporate fashion environment?

I always like to have hope in creativity. Those kinds of movements that happens in every industry… Architecture, music, art… Impressionism was a movement. It was a burst away from what was… Fashion is the same. It is a creative industry. I am waiting for someone who will break the mould. And actually Alexander McQueen did. He really did. In terms of the theatrical experience of his runway shows… in terms of his very, very personal craftsmanship. You could see that at the Met Costume Institute show. The guy was really a genius. Unfortunately he didn’t get to see the end of his genius. There would have been something else coming out if him. When I went to see that show, I thought this was a real and tremendous loss to us. I think that fear holds people back in the world and he was fearless. Calvin was fearless. He was looking for something different. Some people say he was a marketing genius but I think American designers get that short shrift. What Calvin did for his brand that gets carried through with Francisco and Italo is that everything should feel like a T-shirt. The T-shirt is American and the ease of a T-shirt really is something he brought to fashion . I remember he would say, “When you put that evening dress on, does it feel like a T-shirt? ”

Do you see a new aesthetic that is forming that is signature to the here and now?

Such a good question… not yet. I do think someone will come out. But everyone is still young. I see a lot of innovation.

A lot of people are trying to resurrect the ideas of a Helmut Lang but they’re not matching his quality of mind. Or quality of craftsmanship.

Helmut made tailoring cool. He made you look amazing in a black suit. He’s a genius as well. Genius is an overused word but that kind of charismatic appeal… that ability to think outside of the box.. it kind of happens in every industry. There are always going to be outstanding people who are not afraid. My philosophy is that everybody has a self-expression. Everybody! I know plumbers with a self-expression. They love plumbing and they love connecting these pipes. We all have this self-expression but then I don’t think we have the education to really explore that. We are put into a school system that tells you if you don’t learn it this one particular way it’s wrong. So we develop fear.

That point is so profound. What advice would you give to young talent to develop a sense of inner authority and inner direction?

I mentor a lot of young people. I have a daughter so I really feel for young people and I try to help them find their way. I have personally trained so many people within our industry and I really love doing that. The people who trained me… Keezia Keeble and Paul Cavaco… they also identified Steven Meisel and Bruce Weber… the people who trained me saw the best in me so when I’m meeting young people I always tell them… find what you love. Don’t obsess about the money. You’re going to make money doing what you love. Don’t be afraid.

Doing what you do one has to have truly great taste. You have to have the eye, the history, the awareness of current culture. Where does it come from?

My father is an American GI Joe. He’s an American soldier. My mother is Chinese and Japanese. If you go to their house they have zero taste. God bless them (laughs). I attribute my taste to being poor and I had to make my own clothes creatively and when that wasn’t good enough I’d go steal when I was very young (laughs). I’m not ashamed to say it. I was 13 and I would steal just to look good because somehow I felt like looking good was going to gain me access to the “non-poor” world. For me to gain access to people with money I had to look good so I’d make this outfit from Vogue magazine. In those days it was about being a beatnik or a hippie but being a hippie with amazing taste so I was all about hanging out in the art world and with the artists with money.

Are you Manhattan born and raised?

I’m Manhattan raised but I was an army brat. I think my taste came from my poverty. And wanting to be not poor, so I studied everything. For some people beauty is really important and it’s important to their well being. I wanted to be accepted by the people, same age as me but their parents were the intellectuals and artists. I wanted to be accepted so I was the best dressed person in that group. And I did get accepted.

What do you think of the aspect of fashion that is now so driven by social media?

You’re bringing up something important that I see and I see it in myself too. What’s happening with the social media is it’s taking us away from being present in the moment. I worry about our brain cells changing. I really love what I do. People say are you going to retire soon? I say nope. I’m doing a lot of fashion films now. It’s the same story… imaging through fashion media… but when we’re all working on a show the reason why it is so enjoyable is because we are all present with what we’re doing and then there’s this dance. Everybody knows this is it. This is the synergy. And when it’s done right it’s a magical thing and it comes from everybody being in the moment of what they’re doing.

Is moving to fashion films problematic for photographers?

Well the interesting thing about that is models are going to be called upon, more and more to be more like actresses. They can’t be flat. They have to have soul on film. They’re going to have to learn to seduce the camera. And that’s not easy because they are not trained for that. Film is not print. I don’t see a lot of moving images where the models are that great. But what do you think? Do you think people are watching those things?

I think they are… mainly because the Internet is creating a problem with still fashion images on a computer screen. It’s like a traffic jam where you see every page of every magazine online a month in advance and it’s killing your eye. You wouldn’t even look at that many magazines on a newsstand. You’d only select the ones you care about. But now it is this glut of fashion images, good bad and indifferent so that the beautiful pictures get buried the next day in your memory bank. A generation that grew up with music videos is going to accept fashion films because it’s something we instinctively understand and it does have the potential to make that fashion image memorable.

Well this is my old school generational thing because I still love the printed page. They are a few of us left but I feel like it’s a losing battle. I think the survival of the industry is about expanding… it’s about expanding fashion into new formats like film, to new markets like China, Brazil, India. We all want the same thing. Can I tell you why fashion perpetuates itself?

Why?

Because we all want to be loved. And to self-express. We want to be accepted. I wear 95% Commes des Garçons as a uniform and it’s all black.I’ve worn this my whole time in this industry. I wear my clothes to shreds and wearing Commes des Garcons is expensive and I have to update it, but that is to me is business acceptance.

On a final note what would you say to all those young designers showing their collections aspiring to be the next Calvin and Ralph and Donna.

Look less to the past. There’s some amazing emerging talent and it’s all in New York. Alex Wang and Rodarte and Proenza. Sophie Theallet. Peter Som. Prabal. Jason Wu. Robert Geller. They have the opportunity to create something new. I was just thinking about passion. What makes you successful as a designer or model is that there is no definition between work and play. I know that I’m happiest when… it’s not like I’m working… I’m playing… there’s no sense of… oh I have to go to work now. Artists are like that. I’m so grateful for the training I’ve had with these masters like Keeble and Cavaco, Calvin Klein, Marc Jacobs, Helmut Lang, Tom Ford, Jil Sander. To have worked with such visionaries that’s where my joy for this business comes from.

And I thank you so much for sharing that inspiring journey with us Nian. Your energy and insight is just incredibly beautiful.

Thank you Wayne.

 

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THANKS MODELS.com for this amazing interview! XX SL