Inconspicuous Dave

“Light but heavy.” This statement best describes the inconspicuous nature of Dave Singh. Although of slim build, Dave’s weightlessness is attributed to the way he maneuvers without attracting much attention, just like a feather carelessly floating in the wind. However, when one eventually catches a glimpse of him through their peripheral vision they will be instantly stunned by his immense star power.

The 31-year-old Queens native and I met through mutual friends more than a decade ago. I can count on one hand how many times we saw each other in person, yet our mutual respect never faltered. From the looks of Dave, it would be safe to assume he’s the stereotypical “bad boy” archetype who’s living a pretty wild life. On the contrary, he is a humble serial entrepreneur who is part of a crew that’s taking over the luxury reselling game by storm. (I mean, of course Dave likes to have his fun too…but that’s besides the point).

I recently sat down with Dave to take a peek into his adventurous lifestyle as we discussed his upbringing, various business ventures, friendship with the infamous “4GSeller” and more. Enjoy our conversation below.

FRENDY:  Gotdamn! It's been quite a while since we’ve seen each other.  Feels good to finally reconnect. How’s everything?

DAVE:  It's definitely been a minute, my G. All is blessed, actually—I’m feeling great. [ I ] appreciate this write up.

FRENDY:  The pleasure is all mine. Congratulations on all of your recent success!  Then again, you’ve always had a winning spirit from the very first day we met about 11 years ago.

DAVE: Things are for sure moving faster than I expected. I don’t know if it was the winning spirit or just the hungry spirit *Laughs*. Either way it’s kind of working out. 

FRENDY: I feel you on that. Love the humility *Laughs*. We became friends through the Areyo brothers and I know they’re from Sunnyside, Queens. Are you reppin’ the Q borough as well?

DAVE: Yessir—shoutout my brothers Matt & Andrew. I’m from Richmond Hill, Queens AKA  “Little Guyana.”

FRENDY: Most definitely shout out to them—they’ve supported me since I first started writing. I know you’re of West Indian descent like myself. I moved here from Haiti with my family when I was seven-years-old. Were you born in the states?

DAVE:  Yeah—born in Queens. My dad came here from Guyana when he was 17-years-old. Him and my mom met in NYC and have been together since. She's Puerto Rican, born in New York. So I’m half Puerto Rican and half Guyanese. 

Young Dave

FRENDY: Have you ever visited your roots back home in Guyana and Puerto Rico?

DAVE: Actually fucked up to say, but nah *Laughs*. I want to go with my mom and dad, but honestly, we are always so busy that we haven’t gone on a proper family vacation in probably 18 years. 

FRENDY: It’s all good! I’m sure y’all make it there sometime soon. As much as you love having a great time, you’re extremely business savvy. Did your parents instill that value in you growing up?

DAVE:  Without a doubt. My mom and dad are the reason for sure. 

FRENDY:  I saw a pic of your mom and dad at their very first cafe in Bloomfield, NJ. What impact did that milestone leave on you as a kid?

DAVE:  It was everything. I watched my parents scrape up every dollar they had to open it. I remember how happy my parents were to create something for themselves for once and not have to answer to a “boss.” It definitely inspired me to take risks for the bigger picture and not look at this on a transactional-scale. 

Dave’s Parents at their first cafe

FRENDY:  We’ll definitely discuss your own lucrative business ventures later on. I vividly remember your deep infatuation with import/tuner cars and bikes. When did that passion come about?

DAVE:  From a young age. Probably like seven-years-old. I had an uncle pick me up from my grandma's house for a quick ride in his new whip. [It was a] Mitsubishi 3000GT twin turbo. At the time this shit was dumb fast (to me at least). I remember that feeling when he hit the gas was insane. That was definitely the beginning of my love for fast shit. 

FRENDY:  An emotional connection, that’s pure.  Do you still have that electric orange souped up custom whip you were infamously known for riding around in Soho? *Laughs*

DAVE:  I actually sold it and the bikes. I drive a Tesla now *Laughs*. As I got older I just wanted something less flashy and more comfortable/practical. Signs I’m getting old I guess *Laughs*.

Dave’s old whip

FRENDY: Evolution, my brother. It’s such a wonderful juxtaposition because despite having such a flashy car, you’re a low-key individual.  With your splendid lifestyle, one would expect you to constantly showcase your various escapades all over Instagram.

DAVE:  Instagram definitely sees its fair share *Laughs*. I like to keep it that way though—low-key. I feel like the ‘less is more’ way works for me. Also keeps you guessing *Laughs*.

Photographed by @xmaximillian

FRENDY:  Facts.  You and your longtime friend/business partner Vincent Ferraro, notoriously known as “4GSeller,” are killing it in the luxury reselling space. When did you two become friends?

DAVE:  I want to say like 12 years ago now? We actually met on a model set for a mutual friend's brand. Shout out Dave Axelrad.

Dave, Vincent and friend at Cipriani

FRENDY:  Vincent was in the nightlife business before developing the shop. In fact, I did some digging and found out he modeled in a Kool cigarettes ad that I’ve seen all over the bodegas a few years back.  Were you in the same industries as him?

DAVE:  I wasn’t. I did like to go out though *Laughs*. If you knew Vince back in the day you were good in any club. 

Vincent in advertisement

FRENDY:  You’ve always been stylish, but I had no clue you had an interest in the business end of fashion. How’d you get involved with such a successful venture in luxury reselling?

DAVE:  It kind of just happened organically. I have been involved as much as I could with 4G since Vin started it. He’s always been there for me so I felt like the least I can do is help out. 

FRENDY:  That’s great to hear—friendship at its finest.  I read Vincent’s interview with the New York Times. I loved how he recognized you and the other homies who play an intricate role in the 4G showroom. He also shared that y’all give no fucks about haters or critics who complain about the pricing of the exclusive garments y’all resell etc. How exactly do you guys drown all of the noise?

DAVE:  My favorite thing to do is read those comments *Laughs*.  It’s all love though, we get it. 

FRENDY:  What I’ve learned is that opinions don’t matter. As long as your heart is in the right place, you can accomplish anything and win no matter what.  What role do you play in the 4G operation?

DAVE:  Vin is the mastermind behind the brand. I’m there to help bring his vision together. 

Vincent with NFL stars at the 4G showroom in Soho

FRENDY: I love the nonchalant attitude—it’s actually a key ingredient in succeeding *Laughs*.  Where can a person book an appointment for a chance to cop a very rare piece at the 4G showroom in Soho?

DAVE:  You can’t. It’s more of a referral only for the private showroom. But we are opening a public location in a few weeks on Sullivan Street in Soho. You’ll be able to walk into that location to shop. 

FRENDY: Nice, I know a lot of people are looking forward to that.  In your opinion, who’s the most stylish celebrity that stopped by?

DAVE:  That's tough to answer. Gervonta Davis is definitely the most effortlessly sick. He knows exactly what he wants and just throws that shit on. I’d say him or Terry Rozier. 

Gervonta Davis in a casual dope ‘fit

FRENDY: Intention is definitely key when it comes to dressing.  Besides Chrome Hearts, what other brands are you heavily rocking with right now?

DAVE: Enfants Riches Déprimés. Rick Owens. Anything Hedi Slimane. Those are my essentials. 

Hedi Slimane

FRENDY:  Are you involved in any business dealings outside of fashion?

DAVE:  I am. Cafes, interior design and some real estate. Nothing crazy but keeping busy for sure. 

FRENDY: ‘Nothing crazy’ *Laughs*. I’m happy to hear about your diverse streams of income—it’s inspiring.  When time allows, what do you do for fun?

DAVE: I have an (almost) one-year-old son. Lil Dave. Any free time I have I try to spend it with him. That’s my new found ‘fun’ *Laughs*.  

FRENDY: That’s beautiful.  You’re tatted up even more since we first met. Which tattoo artists are in your main rotation?

DAVE:  Mike Wilson and Rob Ryan. OG’s. 

FRENDY:  What’s your most meaningful tat?

DAVE:  They all have a story/meaning. I think it’s corny to sit here and tell you what means what but they are all really meaningful. Most are reflections of the darkest times of my life. 

Tatted up Dave, Vincent and friends photographed by @disposable_relly

FRENDY:  Totally understandable.  What can we expect from you and your crew in the near future?

DAVE:  More 4G. That's for sure. 

FRENDY:  Fire.  Going through all of the experiences that made you who you are today, what advice would you give to your younger self?

DAVE:  Don’t take life too seriously. Have fun and embrace the journey.

CAN I LYV?

I know you’re probably thinking: “Damn, Frendy really posed a question as a title for his Original Story.” Well, why not? Everything I do is pretty much unconventional and my next guest totally shares the same sentiment about herself. Ladies, gents—and those who don’t subscribe to the binary—allow me to present the uniquely wonderful Lyv Riley. 

What makes Lyv so special? There are too many attributes to name.  Whether it’s her natural beauty, spiritualistic nature or old soul swagger, the California native can illuminate the darkest of rooms with her ethereal presence. Not only a burgeoning model, clothing brand owner and writer, Lyv is, more importantly, a proud mother of one who is doing all she can to remain at peace in La La Land.

Check out my insightful conversation with Ms. Riley as we discuss her upbringing, life as a 26-year-old mother, staying out of the mix and future goals.

FRENDY: Lyv, my goodness! I’ve known you for almost a decade now and, I must say, your growth is truly amazing to behold. How are you feeling nowadays?

LYV: Frendy! You’ve always been so supportive. [I] can’t believe it’s been that long. I’m feeling grateful, busy, but rested.

FRENDY: It’s my pleasure—you really deserve everything that’s coming for you.  Recently, I listened to your conversation on the “here now” podcast, and at the end you mentioned that you do not talk a lot—especially to people you don’t know. I feel like this interview will shed a much needed light on the totality of who you really are.

LYV: *Laughs*  Yes, I don’t. I’m a very private person! I’m particular about who I speak to and what I give my energy to.

FRENDY: Your intuition is so intact that you hit me up about having a conversation literally right before I messaged you about participating in my #FrendyOriginals series *Laughs*. I’m very impressed and honored.  How important is it for someone to follow their gut feeling?

LYV: So intact! I do that often *Laughs*. Thank you! It is so important to follow that first instinct you get. You have to trust yourself before anything. I think when you have a strong connection to God and yourself, you’re unstoppable. You can’t let anyone or anything get in the way of what your body, mind and soul are telling you—it’s divine guidance.

FRENDY: I really couldn’t have agreed with you any more.  I know you’re of Dominican descent.  Were you born in the Dominican Republic?

LYV: My grandmother on my dad’s side came to LA from the DR when she was just 14-years-old on her own. You know how that goes I’m sure. She just made a life here for herself, and for that I’m grateful. Or else I wouldn’t be here. 

FRENDY: Wow, that’s dope. This is the first time I’m hearing someone migrated directly from the Dominican Republic to Los Angeles. Usually, the people I know automatically move to the East Coast (New York or Miami).  Have you lived in California all of your life? If so, which part?

LYV: Right! A lot of other family members migrated to Brooklyn, New York. My great grandfather sent her to California and here I am *Laughs*. I have. All my life. I grew up in Long Beach.

FRENDY: Ay, the LBC!  Going back to the podcast you were on last month, you mentioned that at the tender age of seven you were all alone in a bedroom asking yourself if God was real because your life was in shambles.  Do you mind elaborating on that?  What was your childhood experience like?

LYV: Whew! I grew up in an emotionally dysfunctional household and being a child, especially a girl, I was very sensitive to everything around me. I believe that’s why I am so intuitive now because I watched everyone so closely, walking on eggshells. I felt I was subconsciously trying to hold everyone together and I would just break down sometimes. You learn a lot when you have to just observe and not speak to avoid conflict.

FRENDY: At times, traumatic experiences really boost up our spiritual nature.  Were you a part of the popular crowd in high school?

LYV: Oh man. I mean I’m sure anyone reading this that went to school with me would say yes. And I was, but I didn’t ever feel fully accepted. To be honest, I didn’t care to be. I was homeschooled for a while and only went to traditional HS for about two and a half years, something like that. My experience wasn’t great.

FRENDY: Really, why wasn’t it great?  Too many people hating on you for no reason?

LYV: For sure! I had a few fights *Laughs*. But really, I’ve had a challenging life, and at that time, I was going through so much. School and friends were honestly the least of my concern. I moved around so much so I didn’t get the full experience. I'm also not too much of a social butterfly! I didn’t care about being there *Laughs*.

FRENDY: Did you go to college?

LYV: Twice! And dropped out. Then I went to beauty school and got my Esthetician license in 2016.

FRENDY: *Laughs* Yes, I do remember that stage in your life when you were an Esthetician.  What inspired you to step into the modeling scene at the age of 18?

LYV: Well, growing up my mom always took me to castings, but I was so quiet and my mom wasn’t the nicest, most supportive parent so I never got any jobs *Laughs*. As I got older though I felt like I thought it was something I had to do. Something that was for me because it was pushed on me. So I went for it and I’m doing all the things that little shy girl would’ve never thought she could do.

FRENDY: That’s astonishing.  It’s similar to my story because as a kid from Haiti living in NYC, I was shy as sh*t.  I’m more than sure my former classmates are looking at me now like, “Frendy really glowed up” *Laughs*.  How’s your relationship with your mom now?

LYV: I don’t have one with her. My life is more peaceful that way.

FRENDY: I respect that.  Do you remember your very first modeling gig?

LYV: Ahhhh, yes. It was for my friend Drew Byrd’s brand 40s & Shorties! I had just turned 18-years-old. He really introduced me to the LA scene I guess you could say. Love that guy. 

Photographed by Anthony Freeman

FRENDY: You began your modeling career as a freelancer. How did you go about finding castings back then?

LYV: Honestly. Instagram! You know how they used to have those curly hair pages? Or just pages dedicated to beautiful women. That’s how I got all my followers, and from there brands and photographers would just reach out to me. So weird but that’s how it happened. Twitter too! 

FRENDY: When you’ve got “it”, you’ve got it!  In February 2021 you were officially signed as a model. Which agency are you with?

LYV: Yes, I’m signed with OPC (Other Peoples Children). Some agents there left from Ford models and decided to do their own thing. And they’re cool! [I] Love them.

Photographed by Other Peoples Children

FRENDY: Independence at its finest.  What are some of your favorite clothing brands that you’ve worked with thus far?

LYV: Probably all my friends I’ve ever shot for. I love supporting and working with my friends. One specifically, Synth. My friend Ryan’s brand.

Photographed by Simone Niamani Thompson/Playboy

FRENDY: You’ve been featured in a few music videos as well. Do you prefer doing those gigs over photoshoots?

LYV: Absolutely!  100% I want to act more so music videos have been that next door opening for me. 

FRENDY: I love acting as well—I’m ready to get back in the game.  Were you enrolled in any acting classes?

LYV: You should! And no, zero *Laughs*.  But I will soon. I think my life experiences serve as enough practice *Laughs*.

FRENDY: *Laughs* You’re right. Other than modeling, what are your other passions in life?  I saw that you are starting a clothing brand, tell me more about that.

LYV: It’s been a process! Arc Et Eros is something my best friend and I are doing together. She’s more of baggy jeans and sneakers [type] while I’m the dresses and heels kind of girl so we’re just meshing that together. Also, writing. That’s my first love and hopefully when the time is right everyone can read what I’ve put down. It’s all very personal and a little traumatic so I'm holding it close until I’m ready.

FRENDY: How do you remain grounded in the midst of a heavy workflow?

LYV: I keep a spiritual routine, and lately I’m big on rest and patience. Sometimes you do have to sit back and let the universe do its thing with the work you’ve already done. Trying to control every little thing can make what you’re doing ten times harder than it has to be. Believe that everything is going to flow to you and land in its perfect place at the perfect time.

Photographed by Anthony Freeman

FRENDY: It is done unto you as you believe. What does being Spiritual mean to you?

LYV: Being in tune with Self and your ancestors at the deepest, most vulnerable level. 

FRENDY: You’ve been traveling heavily in the last six months. What’s your favorite place that you’ve visited thus far?

LYV: Heavily *Laughs*.  I wish I had more time to, but I love Ghana and I absolutely love St. Maarten. I felt so at home and the food in St. Maarten *chefs kiss*.   That is the place I want to buy a house and live in forever. When I’m done working my ass off.

Photographed by @notmrblue

FRENDY: The first thing that popped up when I googled your name was a picture of you and an ex who is a very well-known singer in the music industry. How has your experience been in finding meaningful relationships, especially in the LA scene?

LYV: Frendyyyy *Laughs*.  It’s difficult. As hell.  [I] Don’t even know what to say, but this industry and this life isn’t for the weak-hearted. I feel that this generation in general can be so toxic, and there’s that one percent of us in it trying to find someone to lean on and trust. But we all have walls up in one way or another. Got to find someone you can break down those walls with and when you don't let them go.

FRENDY: *Laughs* I knew you'd love that question.  Are you currently dating?

LYV: I am. I’m in love. Keeping this close to me and for me—for as long as I can.

FRENDY: Congrats!  What are the characteristics of your ideal romantic partner?

LYV: Thank you! I don’t know—I really enjoy the simple little things. It’s the kind gestures, acts of service that I love. I’m a mom and I’ve been doing a lot on my own for a long time so I appreciate it when someone just wants to do everything for me to make my days easier. That’s romantic to me *Laughs*.

FRENDY: Throughout the years you’ve cut your hair, let it grow and cut it back again.  Is there a significance behind the chops?

LYV: Jesus!  Me and my hair—we’ve been through some things *Laughs*. The first time I cut it all off I was 14-years-old, I went through a tough time. Then again after I had my daughter (postpartum depression), and from there it’s been up and down. More recently, I shaved it all off because I felt I wanted to have a fresh start. 

A lot of it tied into my mom and her image of me and what she wanted me to be. I started questioning if I even knew myself for real or was I just who my mom raised me as. I think that’s something everyone should ask themselves. It was a mind f*ck to me. Because who would I be without the influence of my mother or anyone who had parts in raising me? And I found that answer. 

Photographed by Anthony Freeman

FRENDY: You have a beautiful daughter named Phoenyx and she literally is the spitting image of you when you were a little girl.  How has your life changed since her birth?  Btw, she was born just two days after me!

LYV: Thank you so much, my little Virgo. My life gained more meaning. I’ve always questioned life and what we’re doing here but she really made me start doing the footwork. Following my soul purpose and she has taught me to never settle. No matter how badly it may hurt to let something go, there’s far more rewarding things on the other side once you do. Growth. Being born again & again. Never being afraid to try something new. 

FRENDY: Phoenyx is modeling already!  From your Instagram stories it's apparent that she has an outgoing personality. Is there a slight chance of her getting into acting?

LYV: She is super outgoing. Possibly, if she wants to! But she tells me she wants to be a painter so I’m watering that dream of hers right now. I don’t ever want to push anything on her. I always ask if she wants to do something first before I just throw her into it.

FRENDY: Is there any advice you’ll like to give to all of the young mothers out there that you wish you received?

LYV: Love yourself. Put yourself first. If you’re not happy, your child isn’t happy. A lot of the time we like to think we have to hyper focus on if we’re doing things the right way, but just focus on you. In doing that you teach your kids to do the same and then others know how to treat them. So give yourself all the love. Do whatever you need to do to make yourself feel better so you can show up fully for your child. 

FRENDY: The inspiration behind your daughter’s name derived from Kanye West’s song and short film, “Runaway”. He’s one of your favorite artists. Who are the other musicians you admire?

LYV: Yes! I love Jay Z, Amy Winehouse, Tupac, and Jimi Hendrix. I could go on & on. But their stories and the talent that comes out of them so effortlessly is beautiful. I love when I can relate to an artist's personal life story, not just their music.

FRENDY: What can we expect from you for the remainder of 2022?

LYV: I like to keep my mystique *Laughs*. So just watch! But so much work. Only good things ❤️

Barneys' Bankruptcy

The hood’s Bergdorf Goodman Barneys New York has officially filed for Chapter 11 bankruptcy protection!  Arranged on August 6, the Chapter 11 filing allows Barneys to stay open while it works out a plan to rev up the business and pay off its debts.

According to Business of Fashion, the luxury department store has been struggling with high rent and changing consumer tastes.  Below is Barneys’ official statement regarding its surprising move:

“For more than 90 years, Barneys New York has been an iconic luxury specialty retailer, renowned for its edit, strong point of view, creativity and representation of the world’s best designers and brands.  Like many in our industry, Barneys New York’s financial position has been dramatically impacted by the challenging retail environment and rent structures that are excessively high relative to market demand. In response to these obstacles, the Barneys New York Board and management team have taken decisive action by entering into a court-supervised process, which will provide the Company the necessary tools to conduct a sale process, review our current leases and optimize our operations.”

Due to the bankruptcy, Barneys New York is closing 15 of its 22 brick-and-mortar shops, which includes their locations in Chicago, Las Vegas, and Seattle branches. Furthermore, 7 of the company’s 9 Barneys Warehouse stores and 5 concept stores will also be shut down (no Skepta). Fortunately, the luxury retailer will keep 5 flagship locations in New York, San Francisco, Los Angeles, and Boston. My online shopping heads are in luck because Barneys online stores, Barneys.com and BarneysWarehouse.com, will also remain in business.

What was the first piece you ever copped at Barneys?

When Naomi Met Skepta

If you still haven't seen the British GQ cover featuring Supermodel extraordinaire Naomi Campbell and UK spitter Skepta canoodling in their undies, then I'll have to seriously question your love for the "culture."  (I'm kind of tired of using that word, you get me?)

The two British superstars were highlighted in the prestigious publication's main story for April, where they both candidly spoke about racism, politics, black power and more.

Following their cheeky shoot, the dynamic duo briefly discussed what it was like to be on the cover of GQ wearing the groundbreaking grime emcee's MAINS boxer briefs and even revealed when they first met.  

Check out the entertaining clip below:

Balenciaga Poster Boy

The name Amadou Wane may not ring any bells; nevertheless, I’m pretty sure his face looks familiar to true fashion heads worldwide—especially Balenciaga lovers. 

The 26-year-old burgeoning model made his debut strut down the catwalk in grandiose manner as he closed the Demna Gvasalia-helmed brand’s Autumn/winter 2017 menswear show, sporting an oversized scarf inspired by Bernie Sanders’ presidential campaign logo.  Since then, Amadou has furthered his working relationship with the #1 ranked luxury line by appearing in various campaigns, and even graced the runway once more for its Spring/summer 2018 men’s collection.

Recently, my dear friend Elisabeth Hadida tagged the Senegalese model under one of my Instagram posts.  Since Elisabeth knew Amadou personally—after all, she is Balenciaga’s Europe senior buying manager—I decided to connect with him as well. I appreciated Wane’s levelheaded demeanor despite his speedy success in the modeling world so I decided to extend our dialogue on my #FrendyOriginals platform. This way, we’ll all be able to gain more insight into the life of the Balenciaga poster boy.

Check out our conversation below:

FRENDY: What’s going on Amadou? I appreciate you for taking the time to speak with me.  Is this your very first interview?

AMADOU: Thank you for the opportunity! Yes, this is my very first interview and I’m extremely grateful for it—I hope it will not be my last * Laughs *.

FRENDY: I’m sure it’s not going to be your last * Laughs *. How do you feel knowing that the luxury brand you’ve been consistently working with is #1 in the world?

AMADOU: It’s an honor to work with the cream of the crop in the fashion world.  At first, I did not realize how big the brand was. It’s crazy to see the mass hysteria that Balenciaga has caused.

FRENDY: Well, now you know! Were you always interested in modeling since your days back home in Dakar?

AMADOU: Honestly, I was a fashion addict, and knew all about the latest trends.  But I never thought of working in the business as a model.  Much love to my fellow model friend Lucas, Eva Goedel (the founder of my modeling agency Tomorrow Is Another Day), and everyone else on the team who propelled my modeling career.

FRENDY: At what age did you move from your home country to France? And Why?

AMADOU:   I left Senegal for France at the age of 22 to continue my studies. I spent two years in Metz before moving to Paris.

FRENDY: How was life growing up in Senegal?

AMADOU: Life over there is totally different from France * Laughs *. You know, Senegal is known as “The Land of Teranga,” meaning it is the country of hospitality, filled with a real sense of human connection.  But beyond the social aspect, the weather in Senegal is amazing!

FRENDY:  You left Senegal in order to continue your studies.  Which school did you attend there? What exactly were you studying?

AMADOU:  After receiving my Bachelors, I attended the Polytechnic School of Dakar, where I obtained a degree in Telecommunications.  Then, I got a degree in Telecommunications at The University of Lorraine. I now have a Masters in Engineering in System and Network Engineering from Institut-F2I in Paris.

FRENDY: Wow, that’s spectacular. You must have been hitting the books hard! What set of events occurred that led you to become a model?

AMADOU: I was scouted on the streets of Paris! Lucas, who is a model and scout from TIAD (Tomorrow Is Another Day) modeling agency, spotted me while I was shopping.  He informed me about the agency and at first I was not attentive. Not too long after our first encounter, he convinced me to do it.

FRENDY: Everything happens for a reason. How did Lucas convince you to finally join TIAD?  What did he tell you?

AMADOU: He explained to me the role of the agency and the big names that they’ve worked with.  Plus, he told me about the amount of money I would be earning * Laughs *.

FRENDY: * Laughs * I don’t blame you at all for rolling with them. It’s pretty incredible that your very first modeling gig was to close Balenciaga’s A/W 2017 runway show. Were you nervous?

AMADOU: To be honest, no—It’s not in my nature to be nervous. I was just extremely hot because I had a huge coat and the Bernie Sanders’ scarf on. The security guards had to open up a backdoor so I could breath before walking on the runway * Laughs *.

FRENDY: * Laughs *Yeah your outfit was pretty fire (pun intended). How did you prepare for your first walk?

AMADOU: The agency trained me to walk properly. Thank God for them! But also every model has a unique way of walking and that’s what makes the difference.  It’s the stylist choice to change the model’s walk or not depending on the mood.

FRENDY: I saw that you also walked for Vetements’ A/W 2017 fashion show.  Have you met Demna?

AMADOU: Yes, of course. It is Demna who validates our looks before walking.  The craziest thing about it all is that he is the nicest guy!   He takes the time to joke around and connect with us.

FRENDY: Elisabeth told me great things about him as well.  What other brands have you modeled for?

AMADOU: Elisabeth! I love her * Laughs *.  I also had the pleasure to work with Abasi Rosborough for LVMH prize, and I recently walked for Vivienne Westwood.

FRENDY:  You've already worked with some of the best luxury brands in your short modeling career.  Are you interested in doing anything else in the fashion field?

AMADOU: Compared to other models I have not done anything yet * Laughs *.   But I’m very thankful for the opportunities thus far.  In relation to the question, I would like to organize a high-level fashion week in Dakar. I’m doing my best to make this happen. There are tons of Senegalese models out there, so we might as well band together to do something amazing for our beloved country.

FRENDY: Is it safe to say that your dreams of becoming an engineer are out the window?

AMADOU: Nope.  My number one priority is my education, but that doesn’t mean I’ll stop modeling. I’m doing my best to do both. I won’t be able to model all of my life so it’s good to be skillful at other things.

The Silent Shooter

Timothy Smith is a man of few words, but he has a sh*t load of captivating flicks to make up for it. Like most of my creative comrades, the Brooklyn bred lensman and I met at BAPE NYC - where we hardly spoke, yet had great mutual respect for each other.

I haven’t seen Timothy in about five years, so it was a pleasant surprise when he followed me on Instagram last month.  What shocked me even further were the glorious editorial shots featured on his feed, which he photographed himself. I am not in any way, shape or form attempting to downplay Tim’s artistic prowess, but I was Stacey Dash clueless about his exceptional photography skills.  As I mentioned earlier, we never had a conversation that lasted more than one minute - let alone discussed his interest in the visual arts.

This Original Stories series has provided me with the perfect opportunity to have a sitdown with the silent shooter to find out more about his background, passion for picture taking and path to success in the photography industry. Check out our dialogue below:

FRENDY:  It’s a pleasure to finally have a thorough convo with you after all these years *Laughs*. Why didn’t you tell me about your love for photography back in my early BAPE days?

TIM:  I was in my early stages, still insecure about my work. Not very confident in showing my work to others, and also still finding my voice. Like, all of my early work was of cats, street style, carts, landscapes *Laughs*. I was all over the place.

FRENDY:  I respect that, you’re excused *Laughs*. Where were you raised in Brooklyn?

TIM:  I grew up in the East Flatbush/Brownsville area. At the age of 11/12, my grandparents lost our house so I moved over to Queens to live with relatives for a while. When I first moved to Queens I stayed in Ozone park in my great uncle’s basement, then bounced around from Laurelton to South Ozone Park, then eventually landed back in Brooklyn.

FRENDY:  Crazy.  I lived in East Flatbush for most of my life as well.  Which schools did you attend growing up in Brooklyn and Queens?

TIM:  Yeah, it’s funny, you used to actually go to the gym with one of my best friends from childhood over in the BRC I think? I know you guys used to work out together, but I can’t remember where. Well, I will say this, I was fortunate enough to go to “good” schools. I attended Saint Catherine of Genoa in Brooklyn, then I finished my 8th grade year in Saint Teresa in Queens. For high school, I attended Christ the King over in Middle Village.

FRENDY:  Damn, it’s really a small world. Ok nice, those are definitely great schools to attend.  Were you always into photography growing up?

TIM:  *Laughs* Yeah, real small world. My grandparents made it a priority to send me to catholic schools because they believed it was much safer and a better education. I remember not having any lights or heat because my grandparents would have to pay 4 months of back owed tuition, because they truly believed I could do something when I got older.

Funny thing is I always wanted to be a photographer because of Spider-Man! I used to think Peter Parker was f*cking amazing. I used to get all my Spider-Man toys and create “movies” with cereal boxes as video cameras *Laughs*. Cornflakes boxes to be exact!  It wasn’t until my grandmother passed that I really thought about taking photography seriously. I literally spent my student refund check in 2012/2013 to buy a canon 7D, to actually shoot short films, and record myself reviewing video games.

One day I took a photo and all of the feels of being Spider-Man came back to me all at once. So I decided to sell my car to fund my photography addiction, I took an internship back home the summer before I graduated at Management Artist in Chelsea. It was legit the best experience of my life being around all that amazing photo work, it trained my eye very quickly to distinguish good photography from bad photography. It was an amazing summer, I slept on a living floor the entire time and enjoyed everyday of it!  

FRENDY:  Which college did you attend after Christ The King?

TIM:  I attended Saint John's University for one semester, then got kicked out because they didn’t believe my financial situation, regarding to financial aid. So pretty much even with a partial scholarship I couldn’t afford it. Then I took some time off and went to Nassau. After a while, I decided I had to leave because if not I would have gotten in so much trouble and other dumb shit.

So then I went to a small HBCU in North Carolina: ECSU and got my Bachelors. After getting my degree, I came back to Canarsie because my mom ended up getting breast cancer and I wanted to help out the best way I can, and to build a relationship between us. After that, I finally got home and applied to grad school for photography and ended up attending School of Visual Arts in NYC.

FRENDY:  Wow. First off, is your mom alright now?  Also, what kind of trouble would you have gotten yourself into at Nassau? I don’t see you as a troublemaker.

TIM:  Oh yeah, she’s fine now! Thanks for asking. Not really me getting in trouble at Nassau, it was more so I was still hanging around all my friends that always did dumb sh*t. Like I’ve never been a tough guy or whatever, but I’m also a very loyal friend, plus my house was always the hub for all my friends. So I just remember one day playing call of duty and looking around at what my friends we’re doing and was like “bro, I gotta go.” It’s all good though, they always said I shouldn't be about that ‘life’ and they respected my decision.

I would like to give a special thanks to one of my best friends/brother, Fred because when he saw I was serious about photography he gave me a f*cking brand new 5D mark II with flashes and lenses. Like, that's the type of bond me and my friends have - I'm still trying to figure out a good gift for him *Laughs*.

FRENDY:  That’s the definition of true friendship right there. Were you studying photography when you were schooling in NC? Or you started taking photography classes while attending SVA in the city?

TIM:  SVA.  I did a broadcasting class in NC and tried to get funding for a short film, but it never worked out *Laughs*. I did have three extremely amazing teachers; Professor Bright, Professor Washington, and Latoya Monique. They definitely helped me shape my creative vision by giving me the freedom to experiment as much as possible.

FRENDY:  How’d you enjoy SVA?  What did you do after receiving your Master’s in Photography there?

TIM:  SVA was cool, I made some really good friends there. If I had to be honest, you don't really need school in order to become a photographer. I learned so much in my first year of freelance, and assisting.  So right after getting my Master’s I assisted some amazing photographers like; Bon Duke & Yulia Gorbachenko. I still help Yulia out from time to time, but more the most part I’m completely freelance.

FRENDY:  Yeah, one of my great friends, Erick Hercules, is doing his thing without any schooling. Hard work, of course, is the cause of his success in the photography field.  So you said you’re a freelancer, how did you get connected prestigious publications like Vogue Italia, WWD, Vulkan Magazine etc.?

TIM:  Yeah, hard work and networking is the key to photography now - especially with social media being so important. Yeah completely freelance, so I pretty much do all of the leg work with getting jobs etc. Although I finally have an agent, and she has been awesome so far. She actually has been more of a therapist if anything so far *Laughs*.

Let's tackle magazines first.  Every magazine I shot for, so far, I’ve been denied about 100 times when I first started.  I had to constantly practice and figure out my vision. Then finally after harassing everyone I finally got through, and now magazines would reach out to me for work. That’s how I’ve been able to shoot celebrities, etc. The best word a photographer can hear is “no,” because it drives you to get better and it lets you know that there is still room to grow.

So yeah, once you get your vision and your skills up, people will gravitate towards you for your style which is very important.

FRENDY:  Yes, an artist’s style, no matter what field they’re in, has to be unique to stand out. I’ve heard “nos” all my life, which is why I’m doing my own thing in the writing world. I’m blessed enough to have met some great people along the way who are helping me materialize my vision.  All we can do is be kind to ourselves and move forward with grace.

TIM: Exactly and you’re doing fucking amazing right now, like legit you’re killing it!  I would also say one more thing: I encourage people to surround themselves with good energy and like-minded individualds. Like, for example, my queen Dominique Drakeford (melaninass.com) is hands down my best friend ever, she supports my visions, goals etc, and we can always just sit back and talk about dope sh*t.

My friend from college and artist Malcolm Rolling (www.725studios.com) was the one who actually trained me to think like an artist, and encouraged me to be one. We would legit not go to parties and sit in the room and study light and catch up on art history - that sh*t was amazing and very pivotal to how I think now. My brother Jameel Murray who taught me how to endure the journey and to realize that no hard work goes unrewarded. (Fun Fact: before his mom passed away, we were months away from being legal brothers by adoption.)

FRENDY:  Thanks my man, I really appreciate the kind words. Who’s your favorite celebrity to shoot?

TIM:  Oh man, thats a funny question *Laughs*. So everyone offered a unique experience: YG took me by surprise because of how down to earth he was - still hella gangsta though. Omari Hardwick has become a mentor/big brother figure to me, we still talk to this day. Mack Wilds and I spoke about f*cking Street Fighter, he legit has an Akuma tattoo *Laughs*. Bobby Brackins was super chill, and Marianne Mirage was super fun with great energy. Oh Yeah, Ozuna was also cool, even though he had like an intense security squad.

FRENDY:  Do you ever get starstruck?

TIM: Beforehand sometimes, but never on set because my job is to connect with them and bring out the best emotion possible for the image. They are used to everyone treating them a certain way because they are famous - most of them actually just want to have a regular convo with regular human connection.

FRENDY:  Makes sense, for sure.  How often are you shooting for publications?

TIM:  Around three to four times a month.  Honestly, as a professional photographer you spend more time out reaching and securing clients than shooting. Compared to everything else I have to do, shooting only takes up 20%.

FRENDY:  Are you particular about shooting on location? What do you look for in a setting?

TIM: I do actually prefer shooting on location, only because it keeps budgets lower for certain clients. The studio gives you maximum control over everything. I think to be successful you do need to be well versed in both.

FRENDY:  What are you currently working on Photography wise?

TIM: I’m trying to secure a few campaign and lookbook jobs, also thinking about doing a photo project based on people in brooklyn.  I’m working out the details, but I'm looking for funding for that because I want to have an exhibition and have the kids in the neighborhood get involved, get them exposed to the arts.

FRENDY:  You mentioned earlier that you aborted your short film due to funding. Are you willing to complete it at this stage of your career?

TIM:  Ah man! Yea totally - I actually just got the most expensive piec. I brought a cinema camera recently, and now working on the rest. I’m starting to create the storyboard for it and hopefully can start producing by the top of 2018. 

FRENDY:  Would it be a spoiler to tell us what the short is going to be about?

TIM:  Yeah, all I can say is it will be a relatively short fashion film. Two to five minutes long and it's inspired by Nocturnal Animals.

FRENDY:  Where do you ultimately see yourself in this ever expansive photography universe?

TIM:  Living photo legend, decent cinematographer *Laughs*, director, and running a non-profit for underprivileged kids to get into the arts in an early age.

When Fashion Sells Feminism

A funny thing has happened in fashion over the past several years. Where once the industry proved itself as a leader willing to embrace new ideas while tackling weathered barriers, it now seems to be a consistent grasper of straws. Slumping sales, changing markets, shifting demographics and digital innovation have all played a part in fashion’s consistent fumbling. In the hope that it will strike a financial motherload, the fashion industry often looks to movements outside its own walls that it can appropriate in the most superficial way possible in order to gain positive coverage and join the media fray as it struggles to maintain relevancy. Sadly, the renewed interest in feminist ideals is the latest target of luxury’s vampiric feeding. As a man, I would never claim to fully comprehend the countless nuances surrounding womanhood, but the glaring inconsistencies promoted by the fashion machine are simply too disturbing not to notice.

Though there are many brands churning out what they can to feign interest in a genuinely important cultural conversation, the most egregious example of jumping on the feminist bandwagon is undoubtedly Maria Grazia Chiuri’s Dior. Chiuri has a long history of making questionable choices when it comes to representation in her work. Remember that Africa-inspired Spring/Summer 2016 Valentino collection shown in 2015 that had nearly 90 looks yet only a handful of black models? True, it was designed with Pierpaolo Piccioli, who remains Valentino’s creative director, but that brand has become noticeably more international in look and feel since Chiuri’s departure while Dior’s catwalk lineup will include, at best, a light spattering of models of color. It also doesn’t help that her casting skews incredibly young and frighteningly thin, even by fashion standards. Yes, these criticisms could be leveled at countless labels, and while they should most definitely be held to account by the public, those brands don’t claim feminism as a banner cause as Chiuri has.

In a move that I’m sure both Chiuri and her publicity team hoped would be an Instagrammable moment, her debut runway show for the house of Dior in September of 2016 featured a t-shirt emblazoned with the statement, “We Should All Be Feminists,” in black type against a simple white background. With the U.S. presidential campaign reaching a boiling point and issues specific to women at the fore, Chiuri’s appointment seemed like a much-needed antidote as the start of her tenure marked the first time any woman has ever headed the venerable French couture house of Christian Dior. She made feminist themes a pillar of her debut, drawing much of her inspiration from official fencing attire, one of, if not the only, sport where men and women don identical uniforms. Many of the same problems that emerged at Valentino were still evident: people of color were reduced to tokenism, the age cutoff couldn’t have been far past typical high school graduation, and there were practically no variations in body type whatsoever.

But let’s set those issues aside for a moment to consider the clothes alone. That first collection, with its heavily worked fencing inspiration, resulted in a host of heavily padded, awkwardly fitted jackets and vests that skewed a bit more asylum than Olympic arena. Add to those sheer silk blouses and equally transparent skirts layered over shorts that ended just past the gluteal fold and you have a collection filled with deeply impractical, unflattering clothes that are particularly unkind to anyone over 30--something that makes even less sense when considering the age of the average, moneyed Dior shopper.

Chiuri was clearly aware of the weight of her new role as one of the few women in a leadership position in the industry, but has not done anything since to make her clothes friendly to the wearer. It goes to show that the old platitude insisting female designers create clothes while male designers create costumes is an untrue and lazy criticism. As Pulitzer Prize-winning fashion journalist Robin Givhan noted in her review of Dior’s Spring/Summer 2018 collection (which was partially inspired by art historian Linda Nochlin’s scholarship), “Perhaps a more ambitious or daring designer would have found a way [to address important feminist issues]. Fashion, after all, has been used to express a range of emotions from sorrow and anger to giddy delight. Instead, Chiuri uses feminism as an overlay or a gloss. That isn’t to say that she doesn’t believe deeply in the issues...But she has reduced them to slogans and backdrop. Their meaning is not carried through in the garments themselves.”

Greats of the past have shown an enormous aptitude for physicalizing a specific response to their times. There’s good reason that someone like Coco Chanel is so revered. The legendary French fashion designer definitely did her best to canonize herself in life, but it is the poetic practicality of her clothes that has survived her in death. Discussion of any kind of diversity when speaking of her era is almost moot as there was practically none in fashion, but the philosophy behind her garments continues to resonate despite her more than problematic (and opportunistic) affiliations, like those with officers of the Third Reich.

Chanel wanted women to have the female equivalent of a man’s suit—something that could take you from a social function to church to work to dinner, and everywhere in between. The Chanel suit is something that can be thrown on without thought and still result in a polished ensemble. A jacket, a skirt, maybe a silk blouse and the right accessory. Done. It was chic by numbers and it worked because sometimes there’s nothing more liberating than a uniform. There was an athleticism, a briskness to the composition that let any onlooker know the Chanel women was on the move. It was a rare ideology during couture’s golden age and remains shockingly absent in the present day, but there are most definitely other creatives in recent memory who did not rely on catchphrases to connote their intentions. 

Martin Margiela is recognized as a Belgian radical whose oeuvre continues to find new life as people inspired by his work, such as Raf Simons, become ever larger, more important cultural figures. His signature aesthetic is resolutely avant-garde, but not only in the sense that might first spring to mind. Margiela’s work can seem whacky on the surface—dresses made from flea market-sourced wedding gowns, tops crafted from a patchwork of vintage leather gloves—and much of it certainly can be, however, his work for Hermès revealed his deeper, and ingenious, sensitivities.

In a recent exhibition held in his native country which was documented in a book entitled Margiela, The Hermès Years, it was disclosed that he often asked the women working in his atelier and close friends to try on works in progress and hear their feedback.  He would conduct six fittings for each ready-to-wear piece, an extensive amount, and often built in specific features he knew his customers would appreciate.  One of Margiela’s signatures while designing for the house was a cozy tunic that could be layered in a host of different ways—giving the wearer agency over her look—and be easily pulled down off the shoulders and stepped out of so as not to disturb hair or makeup. From the start of Margiela’s time there, it wasn’t at all unusual to witness Asian women, shorter women, 50+ women walk his runway. It seemed so natural, so authentic because it was. It was an exercise in making women, many women, visible and comfortable above all else. It doesn’t get more modern than that.

One got a similar feeling watching presentations held by the late, great Azzedine Alaïa. There were the midriff-baring, short-skirted dresses for the young, hot yoga devotees; longer dresses with skirts that floated just below the knee and slender sleeves for those approaching or beyond middle age who no longer wished to show their upper arms; the razor-sharp tailoring, crisp shirting and immaculate trousers for the women who didn’t prefer the traditional trappings of femininity at all.  For a couture-themed photo shoot and accompanying behind-the-scenes video for W magazine in 2011, Carine Roitfeld had ensembles made for her at just about every significant couture house showing in Paris, Alaïa included. Alaïa painstakingly conducted the entire fitting from start to finish. Roitfeld noted how much extra work he was taking on by attending to his clients so closely and he responded, “Listen, when you look after clients, that’s how you learn. Because if you don’t see how a design is worn or what women want or how they want to wear it, you’re just designing in a void and that isn’t good.”

And that is just one of many reasons why the Tunisian-born couturier is so missed.  Alaïa's garments were so remarkable because he respected women so deeply and honored their opinions. Lauded fashion journalist Cathy Horyn may have put it better than anyone else, “I didn’t know that he had designed garments for the girls at the Crazy Horse,” she said referencing the famed Parisian cabaret (known for its largely nude stage spectacles) during an interview in a short film on Alaïa directed by stylist Joe McKenna. “And I thought, God if you have to get in there and really measure those women, you’re really not worried about women. You’re not intimidated by them. You don’t have any fantasies about them. And that, we all know, is a problem with many designers, male or female. They have a fantasy about women that doesn’t jive with reality.”

Fashion, as a business, collectively asks for women’s money yet makes sure they are not involved in formulating the strategies or making the decisions that affect what gets produced for their consumption.  Women make up a large portion of the garment trade, both at the luxury and mass levels, making them particularly subject to its injustices whether it is workplace harassment, lack of upward career mobility, unsafe--even deadly--working conditions or low pay. If fashion wants to address inequality, it needs to make robust, actionable plans that start from within where the problems it proclaims to be against are taking place in plain view.

Written by Martin Lerma

Chasing Halston

Halston. It’s a name that may conjure up images of the '70s, Studio 54 and easy, sensuous glamour. Born Roy Halston Frowick on April 23, 1932, there was little indication that the Midwestern bred boy would go on to become the toast of the world’s jet-setting elite. But that’s exactly what he became. There have been many great, innovative designers of the past, some who were forgotten and others who remain in the public consciousness through the sheer strength of their aesthetic or continuation of their namesake label. Though Halston’s own company did trudge along after his death in 1990 from AIDS-related illness, it had already weakened considerably when the corporation’s buyers pushed him out in the early 1980s. What had been perhaps the single most important fashion brand of the decade essentially fizzled despite countless attempts to revive it. But genius isn’t so easy to kill. Whether or not most recognize it, the signs of Halston’s influence are as pervasive as ever.

Over the past ten years, there has been a rise in minimalist fashion with the likes of Céline’s Phoebe Philo and Raf Simons ushering in a starkly pared back look that relies on exceptional fabrics and immaculate cutting. Both of these figures and many others owe Halston an enormous debt. Though Halston was not the first person in the industry with a reverence for simplicity (Madame Grès, Charles James and Balenciaga were noted influences), he was possibly the first to make it his hallmark. From his Grecian goddess-inspired dresses made from heavy silk jersey to his gowns cut from smoky chiffon, often with only a single seam, he was in constant search of purity and developed brilliant techniques that were genuinely at the level of couture. His particular take on modernity was deeply in sync with the speed of the times. He produced work that was easy to slip and, perhaps more importantly at the height of the Disco era, easy to slip off. Even his famous dress shirts were often fabricated from Ultrasuede, the soft fabric that appeared like genuine suede, but was machine washable.

Women like Kim Kardashian and Joan Smalls may count themselves as members of the Balmain Army, the coterie of glamorous women who perpetually surround Olivier Rousteing (the brand’s designer), but decades before that informal group came to be, Halston had his Halstonettes.

Halstonettes were house models and close friends that accompanied Halston everywhere; from his grand trip to the Great Wall of China to his brief television appearance on an episode of The Love Boat. Modeling legend Pat Clevelandand even a pre-acting Anjelica Huston were famous members who came to define a particular kind of allure that would become synonymous with the 70s. The sheer impact they had on perceptions of beauty during their reign was unparalleled, as they presaged the gang of supermodels who would emerge a decade later.

Shrinking in scope from the macro to the micro, Halston’s influence has even seeped into the look of one today’s most prominent pop stars. Though we’ll probably never be sure just how much Ariana Grande or her team knew about Halston, it is clear in certain looks that they have borrowed heavily from his oeuvre.

In 1975, the great photographer Helmut Newton captured Elsa Peretti, who was a model at the time before starting her legendary career as a jewelry designer for Tiffany & Co., wearing an incredible Halston-designed bodysuit and bunny mask against a dramatic Manhattan skyline. One need only glance at Grande’s costume for the cover of her Dangerous Woman album to see where her styling team got their idea.

Halston was unique in that he was both completely of and completely ahead of his time. Everything he did, from his fashions to being the first designer to attempt the launch of an affordable label at a national retailer (J.C. Penney in his case), was groundbreaking. I can’t help but notice that everyone from Donna Karan to Tom Ford has done his best to catch up to Halston’s legacy. But none have succeeded. And I don’t think anyone will soon.

Written by Martin Lerma

The Problem With Ralph Lauren

If you were asked to name one brand that represents luxurious American style above all others, chances are quite good that it would be Ralph Lauren. Both the man and his global company are iconic with a vision that largely shaped the modern perception of what a lifestyle brand is and what it can become when honed relentlessly over half a century. But as ubiquitous as the name is, the past few years have revealed internal tumult, which has highlighted deeper issues within the business and also demonstrated the consequences of a larger cultural shift the storied house is still trying to navigate.

Earlier this year, Stefan Larsson, the first person to ever hold the position as CEO of Ralph Lauren other than Ralph himself, departed the company after little more than a year amidst rumors of tension with the founder. Larsson implemented the much publicized Way Forward Plan designed to streamline what was deemed a bloated infrastructure that was consuming far too much money to operate given shrinking revenues--jobs were cut, stores were closed and insiders hoped for the best. The news of his premature dismissal caused a notable drop in the value of RL stock and presaged additional rounds of layoffs that happened throughout the company.  It also perpetuated the closing of more stores, including the flagship Polo store on 5th Ave. in Manhattan. Since, sales have continued to slump, the value of RL stock is tepid and the installation of a new CEO isn’t necessarily cause for celebration.

So how did one of the world’s greatest brands with a reputation as a training ground for leadership within the fashion industry and beyond manage to get itself into such dire straits?

The answer is multifaceted, but it can be traced back to one fundamental problem that will take Herculean strength to rectify: The RL ethos with the aesthetic currently presented is simply out of sync with the spirit of today. Yes, the candy-colored polos will continue to rake in cash from around the world and yes, brand offshoots like The Polo Bar will continue to have healthy reservation schedules, but the brand still has its roots in the heady 1980s when it came into its own and, to some degree, it has remained stuck there. Until the past couple of seasons, even the major advertising campaigns had flowing cursive font and rustic estate backdrops with polished vintage cars in the foreground much as they had decades ago. The look, in essence, is a fetishized version of lavish aristocratic lifestyles as envisioned by Mr. Lauren.

Grand displays of inheritance and imagery suggesting summers by the cape traveling by yacht not only seem out of touch but downright distasteful during a time of such economic inequality. If you’re going to be blatantly moneyed, why not buy something with a sense of joie de vivre like the magpie beauties coming out of Gucci that don’t take themselves quite so seriously? Projecting a serious attitude isn’t in any way a bad thing, but it is difficult to strike the correct tone when one company sells products at such vastly different price points under different labels (Collection vs Polo Denim). The countless product levels are impressive in range but seem to fight against the whole, as so many can no longer compete after the advent of countless outside brands that offer stylish clothes at more bearable prices. They pander to everyone without attracting or understanding anyone. Despite its overall conservatism, the brand has had more than its fair share of forward-thinking moments that could hint at a way to steer the ship on a healthier course.

Though race in fashion has always been a contentious issue, Ralph Lauren advertisements and runways have been among the most inclusive in the industry. Famous model Tyson Beckford has long been a brand favorite and the brilliance of Ralph to show him, an athletic black man, in rarefied settings over dozens of projects as he sports the trappings of Ivy Leaguers, is the kind of thing still nearly impossible to find in contemporary fashion photography. It subverts stereotypes in a way that is simultaneously genius and so obvious you can’t help but wonder why no else seems to have followed suit. The aforementioned Polo Bar is another bold, open-minded example of how Mr. Lauren knows how to expertly translate his worldview to sites that extend beyond mere shops and excite crowds with a perfectly edited experience.

If Ralph Lauren can live up to these groundbreaking elements of its legacy going forward, there could be no stopping its renewed ascent.

Written by Martin Lerma

The New Givenchy

When it comes to the legendary Parisian couture house of Givenchy, Clare Waight Keller is in and Riccardo Tisci is out after 12 years in charge of the brand. Though the change has added fuel to the rumors surrounding the possibility of Tisci taking over at Versace, Waight Keller’s ascension has been less discussed yet no less important. So what might we expect from this talent who is largely known only to those within fashion? It has the potential to be a more exciting shakeup than anyone has anticipated.

While Clare's time at Chloé was critically and commercially successful with her designs in-demand at the world’s most rarefied luxury retailers, she did not enjoy the kind of blockbuster success her predecessors like Karl Lagerfeld and Phoebe Philo experienced. Hers was a time of quiet consistency that drew heavily upon the French label’s heritage of hippie-tinged glamour in the form of louche fur coats, breathy peach chiffon and slouchy leather bags. One gets the sense that this new appointment may bring with it the opportunity for her to shine brighter than ever before.

The British designer worked as Chloé’s creative director for six years following her time with the famed knitwear label Pringle of Scotland, but her experience working with revered names predates even that. She, along with Christopher Bailey (of Burberry) and Francisco Costa (most recently of Calvin Klein Collection), was part of a talent triumvirate culled together by Tom Ford to work on womenswear in 2000 during his tenure at Gucci. That was after stints working for both Calvin Klein and Ralph Lauren immediately after graduating with her master’s degree. All this is to say that Waight Keller is a designer with an exceptional resume and the sales figures to back it up.

Givenchy’s new head signals an important shift as the brand’s aesthetic growth seems to have faltered over the past few years. It remained a fixture on red carpets and received countless social media impressions thanks to Tisci’s signature blend of Catholic icons and Rottweiler-emblazoned sweaters, but the surprises had ceased with a stale formula taking their place.  Clare knows how to design for a wide breadth of women well-heeled enough to afford her clothes and has ample working experiences  at labels large enough to prepare her for the multifaceted challenges of bearing so much responsibility. But this position also makes her the first female creative director in the house’s history and one of only two women now leading legendary couture houses founded by men--a rare reversal of roles that has never before happened.

Waight Keller's success will be dependent on many factors--the level of control she’s given over store designs, her influence on branding/advertising and the support received from executives--but if she can revitalize the kind of femininity the great Hubert de Givenchy, who is still alive and well at 90 years of age, built his name upon for a contemporary world, there may be no stopping her.

Written by Martin Lerma

Irreplaceable Alaïa

Genius. Legend. Master. Even the most extreme superlatives are all but inadequate to describe Azzedine Alaïa. He has toiled away for decades in his Parisian atelier creating clothes that women absolutely adore. Alaïa receives criminally little press, but that is of no consequence--just check with the sales associates at any of the world’s greatest luxury retailers to see if they have trouble unloading his seasonal inventory. When it comes to the Tunisian-born couturier, $4,000 day dresses fly off the racks in a flash. The numbers simply do not lie.

So what is it about Azzadine that makes his clothes turn into collector’s items the moment they are available for purchase? Why are his prices so high yet act as no impediment to the health of his business? Why is he so universally adored and admired by both clients and professionals in the fashion world? To answer those questions an insider’s eye is needed. Luckily, internationally revered stylist Joe McKenna has put together a 25-minute black-and-white film that blends new interviews of Alaïa’s respected colleagues with beautifully grainy archival footage to give some insight into his rarefied world.

“There are very few people who have this capacity for innovation and this is something I truly admire in his work,” said Louis Vuitton women’s artistic director Nicolas Ghesquière. “In painting, in music, in art in general, you reach that point where you become a master. Azzedine is a master so it’s timeless and it’s the most fashionable clothes at the same time. It is something that every woman wants to wear and seems so exclusive at the same time,” he further states. 

What Ghesquière astutely points out is that every woman who knows about Alaïa wants to wear his clothes, not just because of a specific look or feel, but rather because he has established an oeuvre unmistakably his own, which miraculously includes nearly every kind of woman. There are the body conscious dresses with slashes of revealed flesh for the toned and youthful, the crisp shirting and razor sharp tailoring for those who prefer something other than the traditional trappings of femininity, the dresses that hit just below the knee and sport two full-length sleeves for older women who prefer not to show their upper arms, and so much more.

Fashion critic Suzy Menkes echoed Ghesquière’s points and said, “Azzedine, contrary to what people might imagine, is one of those people who has really given confidence to women through their clothes. Confidence and strength and the ability to express your sexuality, your body, but never, never in a vulgar way.” His love for women and the female body is palpable, but it is never fetishistic.

If there’s one thing you can’t escape in this short but moving documentary, it’s Alaïa’s ever-present hands--nimble, experienced, always searching, forever busy. Such a perfectionist is he that he hasn’t shown during the regular fashion schedule for years preferring to show only when things feel exactly right.  “It does take huge discipline, and the ability to say, ‘I’m not having a show this season ‘cause it’s not there yet.’ You can’t say that if you’re at a big house,” said Vanessa Friedman, the fashion director and chief fashion critic at The New York Times who was filmed wearing one of her many Alaïa dresses. In reference to the immaculate construction of each and every piece, she said, “It all comes from inside the garment and that’s what I always find so mind boggling. You know, nothing is added on afterwards. It all comes from the beginning. And I don’t think anyone else does that.”

New York Magazine’s critic-at-large Cathy Horyn participated in the short and recounted the events surrounding a story she wrote on Alaïa a few years prior. “I didn’t know that he had designed garments for the girls at the Crazy Horse.  And I thought, God if you have to get in there and really measure those women, you’re really not worried about women. You’re not intimidated by them. You don’t have any fantasies about them. And that, we all know, is a problem with many designers, male or female. They have a fantasy about women that doesn’t jive with reality.” Horyn’s statements sums up Alaïa’s most potent design quality: He knows women and loves them, but for how they are, not how he’d like them to be.

The film closes with the 77-year-old Alaïa joyfully dancing to music accompanied by his comically large St. Bernard Didine. May it always remain so.

Written by Martin Lerma

Balenciaga: The Master

In fashion, there have only ever been a handful of greats. Countless labels have come and gone from the fashion week calendar, but there are some names with an undying influence that continues to ripple through the industry. Cristóbal Balenciaga was most definitely one of them, and this May the storied Victoria & Albert Museum in London will open a blockbuster exhibit entitled Balenciaga: Shaping Fashion, that examines his work and legacy.

If French fashion designer Madeleine Vionnet was about revealing the body in its truest form, Balenciaga was focused on honoring its foundations while reshaping it in his own vision. He was a true architect of the body who developed fabrics, like the silk gazar created for him by the illustrious Swiss textile firm Abraham, that could complement the volumes and sculptural shapes he desired while celebrating the woman beneath.

Cristóbal's drive was legendary with no detail too small to escape his eagle-eyed attention. For just one example, he spent the better part of his life trying to make the perfect sleeve, developing countless iterations to achieve his desired effect. Unlike most of his contemporaries, Balenciaga was a true craftsman who could make every garment from the ground up himself, going so far as to make one sublime black dress entirely on his own for every show--without ever divulging which one it was.

Phenomenal technical feats never ceased coming out of his atelier (coats with only one seam made from one piece of cloth, gravity-defying infanta gowns inspired by his Spanish heritage) and were, astonishingly, the norm. In 1968 when Balenciaga felt he no longer connected with the people of the day, he quietly shuttered his house at the age of 74 and died only a few years later.

The house of Balenciaga, once considered the greatest in Paris, languished for years with a headquarters that fell into such disrepair; a flooded basement ruined dozens of priceless couture pieces. It was eventually revived to great enthusiasm, but Cristóbal’s singular mystique never diminished and even after numerous entities designing under his name have moved on, his religious devotion to excellence remains a true, unblemished beacon in fashion.

Written by Martin Lerma

The Brilliance of Rei Kawakubo

At 74 years of age, Rei Kawakubo is an untouchable powerhouse, an inarguable legend in her own time. She is, along with Azzedine Alaïa, the most respected designer in fashion with a wide-reaching circle of influence that has affected every other player in the game. Her work is singularly marked by an exploration of shapes and textile properties that were once the provenance of the greatest couturiers.

Rei's latest Comme des Garçons show, entitled “The Future of Silhouette,” was very much in keeping with her radical vision. For Fall/Winter 2017, she sent forms down the runway that recalled everything from the security of a womb to violent storm clouds ready to expel unpredictable fury, making us question the parallel along the way. Kawakubo doesn’t really make clothes so much as suggestions of what is possible when the rulebook is abandoned, and I couldn’t be more grateful for her dedicated subversion.

When the celebrated designer first showed Comme des Garçons in Paris in 1981, people quite literally didn’t know what to do with it. Kawakubo started her career as a stylist in her native Japan only crafting her own designs when she was unable to find clothes for shoots that suited her taste. That fateful beginning resulted in the launch of a line in 1969 that quickly grew in stature. The 80s were financial boon years for a certain segment of society that reveled in opulence from the start. Ballgowns, broad pinstriped power suits and Technicolor hues were the new standard after the touchable sensuality of the 70s. Paris had no idea what was about to hit it.

Her oversized, tattered, body-morphing designs were slammed and simultaneously dubbed “Hiroshima chic,” supposedly in reference to the radiation-ravaged bodies in Hiroshima and Nagasaki, by members of the fashion press oblivious to how such a flippant reference to the horrors of nuclear war would resonate with a woman who was born and raised during that time of desperation. But such dismissals were to their own detriment as she persevered and took Europe by storm, forever changing what could be considered great.

Viewing a Comme des Garçons collection is a tricky thing. You can never be sure if you’re over or under intellectualizing Rei's seasonal propositions, and I’m sure she likes it precisely that way. After the Fall 2005 “Bride” collection, Kawakubo lamented that she felt people had understood it too readily, which she found displeasing. Her collections have meaning, but I doubt she’s concerned with whether or not her audience ever discerns exactly what. She enjoys being something of an enigma.

On rare occasions Kawakubo grants interviews, she is surrounded by interpreters who allow her a certain level of remove even from those in her immediate surroundings--but, as with her garments, all is not as it seems. In the 1980s, internationally revered fashion photographer Nick Knight visited Kawakubo in Japan and recounted decades later that she spoke perfect English, a tale similar to those of other select industry veterans.

A few years ago, fashion journalist Tim Blanks conducted an interview nervously asking questions via those infamous interpreters as Rei seemed deeply unamused. For his final inquiry, he asked, “What makes you laugh?” She  looked him directly in the eye and said plainly, “You.”

Written by Martin Lerma

Olivier Theyskens' Individual Path

Olivier Theyskens recently showcased his second runway collection in Paris since re-launching his eponymous label and it was truly a sight for sore eyes. Though the previous collection was stronger, there was something profoundly refreshing about seeing someone of enormous talent pursue his own design ends, without feeling the need to latch on to the latest trends kicking around. It lacked some of the sharp editing of his prior outing, with silhouettes that seemed a bit disjointed from one look to the next and was perhaps poorly sequenced, but it did little to ruin the pleasure of the whole exercise.

Theyskens is only 40 years old but has already enjoyed a meteoric career. He dropped out of design school in his native Belgium in 1997 to start a label that quickly garnered massive attention and the approval of many of fashion’s most powerful, namely Anna Wintour. The label operated for a few years before shuttering around the same time Theyskens began designing for the Parisian house Rochas.  There he further cemented his aesthetic codes of strict leather and wispy feathers that bordered on the sculptural.

Olivier is perhaps best remembered for his years at Nina Ricci, which he revived through acclaimed shows and partnering with Reese Witherspoon for many red carpet appearances. A short tenure with Theory in New York followed before he disappeared only to eventually self-finance his return.

A great designer has trademarks that go beyond the surface and Theyskens has them in abundance. Olivier's sense of fit is uniquely his with a softly draped bust and slim, elongated waist that never looks tight or restrictive, as exemplified by superb high-neck jackets in inky hues and flowy satin dresses. He also has a unique way of combining hard and soft elements, like the black patent python jacket over a bouncy white silk skirt in last season’s show. There is always a dark sense of romance with Victorian touches that read as mysterious and sensual in a manner that never feels overly reverential.

I don’t advocate for every design student to launch her own label straight out of school, but it is wonderful to witness a revival that isn’t trying to conform to the heritage of a house whose founder is long dead. Was it Theyskens’ best work ever? Perhaps not, but it was exemplary nonetheless and remained above the fray for its ability to look within.

Written by Martin Lerma

Versace's New Era

The murder of Gianni Versace has loomed large over the house that bears his name and, especially, Donatella, his sister and lifelong right-hand woman, for decades. Versace became known for a specific kind of Italian glamour--colorful, sexy and unabashedly luxurious. The use of modern chainmail to make gowns and reinterpretations of Warhol’s silkscreened portraits became symbols of the brand’s whip-smart vision. But Donatella has struggled to honor her brother without being trapped by his legacy, not to mention the parameters of the iconic look he created. That struggle often showed in the clothes with presentations that had flashes of brilliance but weren’t always consistent, something her personal battle with addiction made even more difficult. Once she rehabilitated herself, it took her time to find her footing, but now she’s finding a voice that’s translating her family’s heritage of sex appeal for a new age.

For someone who grew up with JLo’s plunging necklines being synonymous with Versace, it took some time for my eyes to adjust to the new direction that began in earnest a couple of years ago. Where once there were slinky champagne-colored silk satin gowns with crystal embroidery, there are sporty tailored coats in black with smoky chiffon peeking out from beneath the hem, as was the case during Versace's Fall 2017 runway show.

As incredible as Gianni’s interpretation of femininity was, I often wonder how it would be received were it to be shown for the first time today. With fashion’s move toward sensuality rather than overt sexiness and sportswear’s takeover of even the most vaunted high fashion labels, it would seem out of place (although his emphasis on actual design and not mere styling would do that on its own). A shift was called for, but how well suited that shift is to the Versace ethos is hotly debated. Effortlessness, or, more accurately, the appearance of it, reigns supreme in fashion at the moment. But is that really at the heart of Versace?

The mystique of Versace is not entirely gone though it is different. Like always, the clothes and accessories themselves are beautifully made with impeccable fit and finish. Donatella’s recent shows have become more coherent, however, they lack the spark of collections past and the ability to generate the same kind of captivating images they once did.

Riccardo Tisci, the famed designer who recently resigned from his post at Givenchy, is heavily rumored to be Donatella’s pick for a successor to steer the label going forward. The Versace canon is so rich that if the rumor proves true, Tisci should have no problem reenergizing the establishment even though his tenure at Givenchy had grown tired. What’s worrisome is that Versace will become too bogged down in the everyday with its overcoats, fitted dresses and chunky knits--things better left to other brands. In order to retain its core identity, Versace should not ignore its roots in the search for progress. The fashion world needs its allure now more than ever.

Written by: Martin Lerma

Prada's Eternal Conflict

There’s a tension absolutely critical to the work of Miuccia Prada. Though her name has become synonymous with the pinnacle of intellectual luxury, the business empire she’s built along with her husband, Patrizio Bertelli, is far from where she started. Her latest show in Milan revealed that no matter how drastically the sets change, Prada’s (the woman) work is singular and decades into her career.  

Founded in 1913 as a small Milanese leather goods store, the Prada we know set a new course when Miuccia, the founder’s granddaughter, took the helm of the family company in 1978. She earned a PhD in political science, was an ardent member of Italy’s Communist and women’s rights movements, and even performed as a mime for a few years in her youth. I can’t help but imagine what someone so deeply radical must have felt assuming the head role in a business so heavily associated with stereotypical ideas of femininity and wealth.

Miuccia seems both utterly in charge and reactive to this day. Her desire to challenge our perception of ugliness and good taste has never ceased. She once based a collection (Fall/Winter 2008) entirely on lace because, as a raised Catholic, it remained linked to the kind of prissy Communion veils she despised.  It is her exploration of the things she deeply dislikes that creates so many rich layers in her work.

For Fall 2017, Prada sent out a lineup of heavily pilled cardigan sweaters that were straight out of a dusty trunk in your grandma’s attic, 70s-inspired trouser suits in her signature earth tones and dresses that exploded in layers of wool or feathers near the hem. It looked completely wrong in exactly the right way, a way that can never quite be pinned down.

Though it would help enormously if the women on her runways weren’t nearly always so lily white, this was a complete portrait of a particular kind of woman and a particular kind of journey. It was messy and it was loud and it was too much, too plain, too revealing and too layered, too eccentric and too serious. It was a woman dressing for herself. That’s the genius.

Written by Martin Lerma

òL New York

Allen Aderotoye and I initially met in July of 2015 at the Capsule show during the inaugural New York Men’s Fashion week. It was my first time attending the highly respected fashion and lifestyle trade event, so you could imagine my excitement.  Editors and style leaders alike packed platform 2 of Skylight Clarkson Square to witness some of the world’s fastest rising clothing lines and their respective Spring/Summer ‘16 men's collections.

During the presentation’s closing minutes, I overheard someone yell out, “Mr. BAPE!” and to my surprise it was Allen who greeted me with open arms. The uber-stylish designer’s positive energy was so contagious it felt like we were longtime friends. After he properly introduced himself, we briefly spoke about my time working at the extinguished SoHo hotspot and his very own label, òL New York. I followed Aderotoye on Instagram to keep up with his latest moves and learn more about his fledgling brand.  I later discovered that Allen’s brainchild was just as dope as I thought it would be.

The 26-year-old creative’s outerwear-centric line is very meticulous in the way it blends unusual fabrics (such as velvet, suede and wool) to provide simple yet extremely suave looks.  Possessing such intricate detailing, one would be surprised to know that the label was conjured up by accident.  Right after graduating from the University of Maryland in May of 2012, the natural born hustler migrated to New York City where he interned at Exposure Creative Agency. “While at my internship, I made a piece for the first time and it garnered huge attention--everyone there liked it. It was shot byHYPEBEAST and I thought ‘ok, I might have something here’,” Aderotoye confesses. “Ever since, I continued to take steps to continue building out what would become òL.”

Like most notable designers (think Karl Lagerfeld, Cristóbal Balenciaga, Jean Paul Gaultier), Allen did not receive any formal fashion design training. He focused on obtaining a degree in Economics and Business.  Aderotoye—a first generation American from Nigerian decent—blatantly states: “conceptual majors are not accepted.”  Allen’s Nigerian parents are very strict when it comes to education, which meant that his passion for everything style had to be contained (until he actually graduated from college, of course).  “My parents hated the fact that I moved to New York.  My response was, ‘I got you that degree, now I need to figure out how to actually get it in life!’. “

Allen is certainly “getting it” in the Big Apple as he is three collections deep into his beloved brand.  I recently sat down with the talented craftsman to talk about his upbringing, love for fashion, and the future of òL.  Check out our conversation below:

FRENDY:  How lit was it growing up in Washington, D.C?

ALLEN:  It was great!  DC has so much culture--we have our own sense of identity from the style of dress to gogo music, so much influence is started in the area. I was raised between a few areas in Prince George’s County and neighborhood called Trinidad in DC near H st.

FRENDY:  Your parents are originally from Nigeria, have you ever visited the motherland?

ALLEN:  Yeah, they are from Nigeria both born and raised there. They came here for the opportunities America had. I’ve been to Nigeria twice. It’s a really inspiring place to be meeting family I’ve never seen before, eating jollof rice from McDonald's like chains for sure an experience. This is where my parents are from: a very warm, vibrant colored, hustle or die mentality Nigeria.

FRENDY:  Were you always into Fashion?

ALLEN:  I’ve always been into style.  Self expression is very important--especially as a kid, you want to let people know what kind of person you are by your sense of style to a certain degree. It all started with footwear for me, I was really into Jordans because Jordan was a beast and as a kid there was no better sneakers than the bred 11s. That’s what started to teach me the idea of aesthetics.

FRENDY:  I feel you.  Which HS did you attend?

ALLEN:  I went to Bowie High School.  My time there was very regular I would assume for the average teen in High School. Pretty chill, just plotting on Jordan release dates and skipping lunch to have enough for each pair that was dropping.

FRENDY:  I can tell that your love for sneakers runs deep. I’m surprised you didn’t formulate your own shoe yet.

ALLEN:  Yeah man, shoes have been a long time love. There’s some ideas brewing but footwear is a different obstacle, especially with an original design. Shoes really have to be functional while having the looks, on my architectural quest it surely will be conquered. One way or another.

FRENDY:  When did you become passionate about clothes?

ALLEN:  I am passionate about the style aspect more or so. We all need clothes but no one needs clothes as there is a surplus within this hyper consumption era. However, we all need identity, which is not so easily defined.

FRENDY:  Why did you choose to move to New York after college instead of another booming city like Los Angeles or Miami?

ALLEN:  That’s where my opportunity was, I needed to have something that was there for me you, you know. I had interned with the Gild in London a year beforehand so I imagined I could probably get my first job with their team in NYC. Wishful thinking. It was also a realistic commute for me--a four hour bus ride home when needed was more than doable.

FRENDY:  What inspired you to construct your first garment while interning? What was the piece made?

ALLEN: I was following Maestro Knows at the time. I saw he was going to be at Reed Space later that evening so after my internship, I walked from SoHo to LES to go see what was going on--I was super inspired by his vlog at the time. So using the map on my phone I found my way to the block. It was Allen st. I think because of the name I decided to pay a little more attention and LES at that time was still a true feeling neighborhood. I walked into a tailor on that street which is now long gone and was like “I have an idea,” a few weeks later I ended up with that velvet polo. This piece would be the foundation of òL.

FRENDY: How did HYPEBEAST find out about it?

ALLEN:  I was wearing it during Fashion Night Out. When I was just starting to venture into the city I was getting stopped a lot for street styles so I thought this was just another one of those situations. He took a photo and handed me a card, already jaded by having my photo taken I posed and held the card not even looking at it once. My girl at the time took it and flipped it over, I was already busy focused on something else. She taps me and flips over the card. It says HYPEBEAST. I flipped out and tried to find the photographer, he was long gone in the huge crowd. HYPEBEAST has been a favorite for a while so it was a wow moment for me.

FRENDY:  What is the meaning behind òL?

ALLEN: òL means òutside Lines. The idea of different, as humans we’re all unique so I started with that as a basis in developing ideas.

FRENDY:  Out of the three collections, which one was your favorite to create?

ALLEN:  They are all individual ideas I had at a period of time in life, so i'm not sure I can have a favorite.  However, ‘Silverspoon’ was a really dope point in my life.  We shot the lookbook in London and had a presentation for NYFWM, called it the Wolf of Men’s Week, it was at Leonardo Dicaprio’s former penthouse. It was a vibe.

FRENDY:  I know how difficult it can be to sustain a clothing line. Do you have a side hustle to fund production cost, marketing, etc. ?

ALLEN: I am able to do a few projects for some other creatives from time that help to fund the dream and I sell my kicks when times are really low *Laughs*.

FRENDY:  How well are your friends and family receiving your line back home?

ALLEN: I think they are receiving it well, my friends have been a big supporting factor since day one. While with my family is a bit of an interesting dynamic. As long as I am able to take care of myself they are fine with that.

FRENDY:  For the most part, you’re always rocking an òL piece. Are there any other fashion brands out right now that are worth your attention?

ALLEN: òL was made in purpose of pieces I want to wear more than anything so try to stay òL down. I know that if I can do anything it’s that. There’s so many brands to chose from at this point so I just stick with brands that my friends run. I have been able to meet some really dope designers globally so I try to start there when I look for things outside of òL.

FRENDY:  If you were able to collaborate with an up and coming brand, which would it be?

ALLEN: what would you consider an up and coming brand?

FRENDY:  I think this is the first time ever my interviewee responded back to me with a question. I like that *Laughs*. What I meant by an up and coming brand is one that hasn’t received any notoriety from any major blogs or celebrities. But in the trendy downtown scene, it’s poppin’.

ALLEN:  For New York, I would have to say the homie Ev or Death To Tennis.

FRENDY:  How do you want your customers to feel wearing your line?

ALLEN:  I want them to feel like they’ve just been hit by the HòLy Ghost. Feel good, confident. Vitalized. It feels good when you just got something new that you really like. I want them to feel this way every time they wear anything òL.

FRENDY:  Any plans of moving back to your hometown?

ALLEN:  Home will always be home but I am not sure how conducive that will be for me as everything is produced in NYC. I do make sure to spend more time out there these days though.

Anabi Wasabi

“To all the ladies in the place with style and grace,” is how The Notorious B.I.G. kicked off his 1994 platinum-selling single, “Big Poppa.” Danielle Anabi wasn’t alive when the song initially released but she presently has the same swag as the women Biggie referred to.

Danielle is what you call a “rare gem” in the world of Instagram. With less than 5K followers, the Claremont, California beauty is silently bodying fits your #WCW wouldn’t dare to pull off. Whether in a pair of rare Air Jordan 1s or enthralling Vetements lighter heels, Anabi’s style effortlessly remains street yet chic.

But the sky wasn’t always sunny for Danielle. Before her parent’s astronomical success in the oil industry, the 21-year-old fashionista grew up residing in her grandparents’ home, with not only her mom and dad, but also aunts, uncles as well as younger siblings.  Anabi’s humble beginning fuels her drive to become the first member of her clan to graduate college.  As you can already infer, there is a deeper level to Danielle beyond her flashy exterior.

I recently sat down with Anabi to have a thorough discussion about her parent’s booming business, love of fashion, style and future goals. Check out our dialogue below:

FRENDY: Let me first confess that I’ve never heard of Claremont.  Can you fill me in (no Craig David)?

DANIELLE: Cozy Claremont! The city of trees and PhD's. It's a small college town, and a good place to grow up. However, it's a bit of a bubble to say the least.

FRENDY: Cozy Claremont? Sheesh! Sounds like everyone is walking around in pajamas! Were you born there?

DANIELLE: Born and raised. Then I migrated about two hours away to San Diego for college.

FRENDY: Awesome. What are you studying there?

DANIELLE: Yeah, San Diego is a nice change of scenery. I'm majoring in Communication Studies and minoring in Arabic. Graduating next year.

FRENDY: Congrats! I know this is a huge deal for you and your family. Did you receive any sort of pressure from your parents to finish school?

DANIELLE: It definitely is a big deal for my family and I. Neither of my parents went to college, so being the first person in my family to attain a degree is a blessing.

Initially though, I'll admit, I didn't want to further my education. Many of the people I surround myself with have been able to achieve great success with only a high school diploma. However, I've also seen these people experience a great deal of setbacks because of the lack of a degree.

FRENDY: Good on you for deciding to stick with it. I was unable to finish college due to finances, but when there's a will there's certainly a way to make things work out. It's a bit “easier” to progress in life with a degree, so at least you’ll have a great accessory.

DANIELLE: I feel you. I have a lot of respect for people who are able to create their own success without having a degree to back them.

FRENDY: After graduating, are you going to work in the field you majored in or take part in your parent’s booming business?

DANIELLE: That's the million-dollar question. My major is certainly not my passion. However, I think college really contributed to my intellectual growth.

FRENDY: What is your passion then?

DANIELLE: My passion is Art, specifically in terms of fashion and design.

I feel like the meaning of "fashion" has sort of deteriorated over time, or rather has just changed immensely. But that's the beauty of it. Fashion can mean whatever the hell you want it to mean, and its meaning varies depending on so many complex things revolving around each individual. I love it.

FRENDY: Your dope sense of style clearly indicates that you have an immense fashion infatuation. How do you go about selecting an outfit?

DANIELLE: I really enjoy feminizing masculine pieces. I'd say that about 65% of my closet consists of statement menswear pieces that I wear daily, regardless the weather, occasion, etc. I also like to implement some sort of sophistication into my fits. It's hard to explain, but the best way to sum it up is attempting to add depth with style.

Overall, I think to really understand my style, you have to see that I'm not just fabric oriented. Styling is more than just cloth. Many people don't realize that fabric is the most external layer of what lies beneath.

FRENDY: I like that *DJ Khaled Voice*.  What are your favorite clothing lines right now? And what do you look for when purchasing a piece?

DANIELLE: My favorite brands change pretty frequently. It mostly depends on the designer and what their vision for the brand is.

I like when designers make me think and feel. Very few are able to perfect the balance of intellect and style, while still keeping true to their own identity. If they are able to implement themselves in their designs, rather than just conform to what's "trending,” it gives a sense of authenticity to the label. So when I do sense some sort of rawness, I cling to it. Because I believe the designer is the face of the brand, I spend a lot of my free time watching interviews and reading articles about what they have to say in order to get a feel of who they really are.  This helps me pinpoint what they're trying to convey in their designs.  Typically, I look for them to address why they chose specific concepts and what they mean to them as the designer.  It creates a certain type of genuineness that adds intellectual depth to their label. When designers do articulate these points, it usually touches me on an emotional level and makes me feel some sort of connection or attachment to their brand.  Once this bond is made, I ultimately feel inclined to purchase items because I value the individual's vision.

For example, Maison Margiela does an amazing job at perfecting, what I’d like to call “complex simplicity.”   I think I was about 15 when I discovered Margiela. He actually was the first figure who cultivated my love for fashion.  I saw how his designs were able to challenge the industry and change the meaning of "high fashion" altogether. Unlike other designers who constantly went out promoting themselves, Margiela refused to be photographed, interviewed, and even faxed people instead of meeting face to face.

His pieces truly captivate this aura about him. Creating a nameless, faceless brand, while still using your real name, was/is so cool to me. Made me feel something for sure, as I'm pretty reclusive myself. He gives me some inspiration when I think of how I would like my brand to be someday.

FRENDY: This might be a bit early to ask, but will your potential brand provide aesthetically sound streetwear pieces or the high luxury feel?

DANIELLE: Why not both? A streetwear brand can have luxury elements to it. However, I feel like by the time I decide to launch my brand, what we now know to be streetwear (as much as I love it), will be on the come down. Before I start getting heat for that statement, I guess I should define that by streetwear, I mean the trend-based nature of it today (a.k.a. track suits, athleisure, sportswear; being able to wear sweats to your wedding type shit).

Although there are so many new emerging brands right now that are specifically centered on being "street,” I don't see much longevity to it. This is because consumers dictate what's trending next... not the brands themselves. Take Off-White for example. I think Virgil is a prime example of streetwear-gone-vogue. He's able to comprehend that street style may just be a trend at the moment, and has elevated his brand with more sophisticated, luxury pieces in hopes to gain long term success.

FRENDY: Have you already thought of names for your brand yet?

DANIELLE: “Delusions of Grandeur,” which means a false impression of one's own importance. Clothing shapes how people feel. Typically when people buy expensive pieces that come with a high status and designer name, they feel like they're above others - more confident and cocky.

In short, people hide behind their clothes. Imagine investing in a brand, whose name alone contradicts the emotions you feel towards luxury items. I would want my brand to make people question their perceived self.

I haven’t really been able to take it too seriously with school and everything going on in my life right now. A lot of people ask me why I can't just juggle both, but when I put my name on something, you know I'm putting 100% of myself and time into it. I can't half ass it. I'm either all in or just not playing all together.

FRENDY: Since you’re so busy with school, do you still have time to shop for exclusive threads? 

DANIELLE: All I got is time! *Laughs*  Nah, I will admit, I do have a lot of good friends that help me get certain pieces. But really I'm pretty skilled at tracking down rare items myself. I guess I shouldn't be too proud about that. I'm just very drawn to the challenge of finding cool shit. I like knowing that I'm one of the few who has something. Makes me value it a hell of a lot more.

FRENDY: What are some of your grail pieces?

DANIELLE: *Laughs* Such a hard question. If I really had to pick just one... I would have to say my Gucci embroidered denim jacket with shearling on the inside. It was one of the most difficult pieces to hunt down--primarily because I wanted to have it first. In total, I waited around 6 months for it to come in because it wasn't actually made yet. Only a select few orders were being made, so it took awhile to get here from Italy.

Next in line would be my vintage Chanel pieces. I love vintage shit.  There’s always a story behind each piece.

FRENDY: Ever thought about becoming a Stylist in order to guide those who can’t quite pull off a fire fit?

DANIELLE: I actually am doing my first “styling” gig for a close friend's start up clothing brand. I'm not sure if I would want to be a stylist full time though. Why not reach for more?

FRENDY: True.  Who do you think has the best style in the game right now? And why?

DANIELLE: I would have to say A$AP Rocky. Not going to lie, I peep his fits often to get some inspiration for myself. As you could probably tell, I love mixing designer with street. Rocky executes that shit so well. Rather than wearing a whole Supreme suit or a full on Raf fit, I think it's all about mixing and matching different brands that compliment one another.

FRENDY: Are your parents aware of your deep longing to work in the fashion industry?

DANIELLE: I'm extremely close with my family. Their opinions matter the most in my eyes.

My parents are tremendously supportive about any goal my siblings or I have. I'm grateful to have role models like them in my life who encourage creativity, push me to achieve more, and teach me to be the best possible version of myself.

When I think about starting up a brand, my chief inspiration comes from my family and the experiences taken from my upbringing.

FRENDY: If you had to rock one outfit for an entire year, what would it be?

DANIELLE: Crazy hard question!  Probably my vintage Chanel velour tracksuit with my red satin Jordan 1s. Shit is way too cozy. *Laughs*

Beauty Behind The Garments

A few months back, I deleted my old Tumblr account and decided to start things fresh with my newly found “Frendy Vibes ” flow.  While skimming through various pages on the popular social networking site, I would regularly stumble upon numerous photographs of a uniquely striking female.  Ok, most of you are probably thinking, “Duh! its Tumblr, tons of hot girls are scattered on there,” but this particular fashionista was extremely consistent with her stylish aesthetic. 

Remaining true to my investigative nature, I tracked down the beauty to find out who she really is behind the meticulous garments.  Check out my exclusive sit-down with her below:

Frendy:  Pardon my ignorance, but I honestly thought “Maki Rolls ” was your real name at first.  What is the meaning behind your Instagram handle?

Alice:  *Laughs* Alot of people call me Maki and the worst part is I respond to it! My name is Alice. Everything was taken so I had to come up with something different. I remember sitting on my bed last September thinking I love sushi, and I guess “Maki Rolls” just came to my mind. A lot of people don't know what a Maki Roll is (which surprises me every time,) but it's actually just the round sushi pieces that are wrapped in seaweed.

Frendy: Where are you originally from? And how was life growing up there?

Alice:  I was born in Yancheng, China. It's a city two hours south of Shanghai. I moved to Toronto, Canada when I was 6 and then New Hampshire, USA a year later.  I barely remember anything from life in China and Canada, so I just say that I grew up in Nashua. I lived there from the age of 7-15, and then moved to Europe (Oslo, Norway) from 15-present. 

Life in Nashua was pretty normal (at least to the onlooker.) Living the whole American dream with a house, dog and a fence in a nice neighborhood. I was the biggest nerd and had perfect grades in school. My personal and private life was a whole different story though.

Frendy: Did your love of fashion come about at an early age?

Alice:  I've always really liked clothes since I can remember. I didn't start being "stylish" until I moved to Oslo and I definitely never thought of taking a career path in fashion until earlier this year actually.  I was taking courses for my Masters in Finance thinking I was going to be an investment banker.  One day, I just realized that I'm actually a creative person and wanted to work with clothes, so I immediately quit Masters school.

Frendy:  What did your parents think when you stopped going to school for your Masters degree?

Alice: They were pretty shocked at first, but at the same time both my mom and stepdad have been a bit of adventurers themselves when they were young. They've gone out and explored the world before they settled anywhere. And that's what I'm doing. So they get it. 

Frendy: For those who are not aware, what is your occupation?

Alice:  Right now, I'm working as a consultant for a brand based in LA, in both brand management and creative direction. I also do freelance styling. Most would also say I'm a blogger, but since I don't have a blog, I guess I'm an Instagram influencer.

Frendy: Can you recall your first big break in the fashion world?

Alice: What I'm doing now is my first big opportunity I would say. Building a brand together with someone, having a load of responsibilities. It gives me real experience in all aspects of the field.

Frendy: Have you faced any sort of discrimination as a female in such booming industry?

Alice:  No, I actually feel that being a female in the streetwear scene dominated by dudes makes you stand out more. I've never worked with streetwear, I just wear it a lot and have a lot of friends in the scene.

Frendy: You recently moved to LA. Was it work-related or simply because you desired a change of scenery?

Alice:  I’m here for a few months first and see what’s up. It was both work-related and because I needed a change. I fell in love with LA during my first visit in October and had to come back!

Frendy: Public transportation is certainly not effective in Los Angeles as it is here in New York, are you able to maneuver in your new home without great hassle?

Alice:  Oh yeah, definitely. People don't use public transportation here-ubers are super cheap, and usually for work meetings I get picked up in the morning so that's not a hassle at all. I live in West Hollywood so it's a five minute drive to everything.

Frendy: You have an incredible, natural sense of style.  Do you undergo an intricate process to choose the perfect outfit?

Alice:  Not at all…I just put on whatever I feel goes together. People probably think I spend hours picking out my outfits but I really spend 10 minutes max.

Frendy: Your knowledge of the fashion industry is equally impressive as your striking look.  How important is it for someone to know the backstory of a particular label or fashion house?

Alice:  To be honest, I know very little about any particular label or designer. I feel that lot of people who have been in fashion for a while (especially high fashion,) and have gone to fashion school know every single detail and history about designers. They take it very seriously.  I just haven't been in the industry long enough to really "care" yet.

Frendy: What are some of your favorite brands right now?   And what exactly makes you so fond of them?

Alice:  My favorite is Gosha Rubchinskiy, simply because the brand provides quality garments that are worth every penny.  Also, everything about the line is dope af, from the aesthetics to the models.

Y Project, Alyx Studios, G.V.G.V, Enfants Riches Deprimés are up there too. For me to like a brand, I need to be captivated by the way it is presented. It's not even about the design of each piece but the whole brand universe.

Frendy: Music and fashion go hand in hand. What sounds inspire you the most?

Alice:  I wouldn't say I'm inspired by music like that...but either Travis Scott's new album and The Weeknd's new album Starboy, is literally on repeat all day.

Frendy: I’m asking this question on behalf of all the fellas out there: do you have a particular type? Is it necessary for him to be a ‘fashion head’ in order to gain your undivided attention?

Alice:  No, I don't have a particular type, but I do like someone who can intellectually stimulate, challenge and inspire me. I would want someone that "gets it," and I feel very few do.

Yes, he would need to have good style to have my attention *laughs* I would prefer someone who wasn't fully submerged in the fashion scene just because it's already such a small world, and I want to learn different aspects of life from someone.

Frendy: What would you like to say to all the girls who are trying to work in the fashion field, but have absolutely no clue of how to get their feet wet?

Alice:  I get this question almost every day in my email and dm. People think there is only that one "correct" way, but there are countless options. There are so many degrees and backgrounds you can take: Marketing/PR, architecture, graphic design, business, art, design. 90% of people in fashion never even went to fashion school.

Also, put yourself out there! Instagram is a GREAT tool for showcasing your work or just sense of style/mood boards. Like they say, “Instagram is the new CV.”

Frendy: One last question, which do you prefer: Skittles or Starburst?

Alice:  SKITTLESSSSS.

Aaron's World

BAPE NYC served as a medium to encounter so many incredible people.  From iconic entertainers and fashion gods to multi-millionaire businessmen, the second floor of the ‘Busy Workshop’ was my personal space for meeting sessions with them all.

I’ve had several moments of forgetfulness when dealing with certain past acquaintances. In some cases, my attentive silence during a conversation was just my way of trying to figure out who I was actually speaking to (no offense, of course).

Aaron is surely not on my list of Forgettables.  The stylish Canadian has been a loyal BAPE customer ever since my Omarion braid days.  A year before my departure from Nigo’s former fashion empire, Aaron stopped by the shop to cash out (per usual). That was my first time seeing him in ages, so we definitely reminisced and since then remained in contact through social media.  I was pleasantly surprised to discover he had quite a strong following on the Internet.

Aaron’s nonchalant showing of his splendid lifestyle online prompted me to have a sit-down with him to dig a little deeper into his wonderful world.  There’s always more than what meets the eye, so this will be a perfect chance to really understand the man behind the grandeur. Enjoy!

FRENDY: Alot of people may know you strictly from Instagram where your flex fits and lavish lifestyle are on full display. What are some of the biggest misconceptions about you?

AARON: One of the biggest misconceptions about me is that I only buy and like "expensive" things. That is 100% false. I am a resourceful and smart shopper. Rarely do I ever buy things at retail, and if I do pay retail; chances are I sell some things that I don't wear anymore to help make closet space. I never just go blow money for no reason. I'm not the type of person to buy something just to flex on Instagram and then end up selling it the day after. If you scroll all the way down on my Instagram to the first few photos, you will see that I've been wearing and copping fresh shit from the start. I'm not new to the streetwear/fashion culture. I've been on ISS since 2007 and did not suddenly start buying gear since Instagram started. I actually kind of hate this new Instagram hypebeast culture because I know over 90% of these guys you see "flexing" don't know shit about the history of sneaker/streetwear game and just started buying because they can get some likes. If you notice on my pics, I never tag brands or use hashtags. That shit is wack and just shows you how bad these people care about getting more followers & likes from the shoes or clothes that they are wearing. You can smell the corniness of people through the iPhone screen from their 20 hashtags and 15 tags. 

FRENDY: Which part of Canada are you from exactly?

AARON: I'm from Toronto, Canada. 6ix side let it fly.

FRENDY: What was your childhood like there?

AARON: My childhood was sports 24/7. I played competitive AAA hockey from 9 till I was 14. Then I changed to competitive tennis from 14 to 18. I was playing a lot of tournaments and was training almost every day. Balancing school, sports, and work was hard for me because the hours were insane. I remember having to bring my tennis bag with me into Champs Sports on some days because I didn't have time to go home. I would go straight from the tennis courts to the mall and clock in for my shift. Champs taught me a lot about time management though.

FRENDY: The last time I saw you at my old workplace you were with a couple of friends, 2 of which included the famous Bent-Lee brothers. How long have you known them for?

AARON: I've known the Bent-Lee brothers since I was 14. We all played tennis growing up so we would see each other at tournaments all the time. Me and Kai have had some crazy battles throughout our OTA (Ontario Tennis Association) careers. A lot of broken rackets and questionable calls happened. We also all went to the same high school together, Vaughan Road Academy. To be 100% honest with you, Kai was the first person that influenced me in the sneaker game. He would always show up with a brand new pair of Nike SB's. He was on that shit early during the pink box era. 

FRENDY: Can you tell me about Fring’s?

AARON: Fring's is that place in Toronto where you can get an amazing meal and feel like you're somewhere else in the world. The vibe of the restaurant is like no other in our city. Where else can you eat oysters and chicken sliders while listening to trap music? 

FRENDY: Since we’re on the subject of restaurants, what are some of your favorite spots to dine in?

AARON: The majority of my favorite spots are actually in NYC. I think Ben's Pizza in SoHo is one of the best I've had! J.G. Melon's on 3rd & 74th makes a crazy cheeseburger. Minetta Tavern's "Black Label" burger is on point as well. I'm a big burger guy so of course I love Shake Shack. But, I think In N Out is better. 

FRENDY: I’m sure tons of people are dying to know so I’ll just go ahead and ask; what is your occupation?

AARON: I own ProLocker.com. We are currently going through re-development right now, but be on the lookout for the new launch. 

FRENDY: You’re a pretty fly fella; do you have any interest in entering the fashion realm?

AARON: I am actually helping my boy open up a fashion boutique in Toronto. I just want to help bring a unique shopping experience to the city. The shopping up here is not the greatest, so it would be great to have a refreshing spot.

FRENDY: What are some of your favorite brands at the moment?

AARON: My favorite brands are APL, Saint Laurent, BAPE, Supreme, Fear of God, Balmain and John Elliott.

FRENDY: I see that you’re an avid traveler.   Out of the many places you have been globally, which is your favorite?

AARON: The best place I've been to has to be Italy. The food is just so good out there. Best meals I've had are all in Italy. The culture over there is very laid back and easy going.

FRENDY: Where do you see yourself in 10 years?

AARON: In 10 years I see myself feeling good, living better.

FRENDY: Thank you for taking the time to shed more light on your life.  Are there any last words you’ll like to leave with the readers?

AARON: Stay humble, stay hungry. We are all just trying to live better than yesterday.

Photos by: Omair Khan