What do you think of when you hear the term self-care? Maybe it’s a long journaling session, a steamy bubble bath, or some overall “me” time. However, critical care surgeon and physician-scientist Stephen Trzeciak, M.D., MPH, author of Wonder Drug, says we should flip the script: What if the best way to practice self-care is to actually serve others?
A few years ago, a new fitness brand entered the scene, completely innovating they way people worked out through its iconic piece of equipment, the Bala Bangle. Natalie Holloway is the co-founder and visionary behind Bala and has grown the business from the Bangle to a 360 lifestyle brand. As many successful businesses begin, Holloway founded Bala after noticing a need in the market. In fact, her life completely took a turn when she met her future husband and business partner, Max, when they were both working at global ad agency 72andSunny. Holloway began her career in advertising, where she worked with major clients such as Jeep and Starbucks, but once she and Max realized their mutual burnout, they decided to leave their jobs and embark on a yearlong travel adventure.
Throughout their travels, the couple brainstormed various business ideas, and their aha moment came during an unchallenging yoga class in Indonesia. They wondered why no one was creating stylish wrist or ankle weights to amp up workouts like these. With this idea in mind, they returned from their travels and set out to create the now-beloved Bala Bangle, using a successful Kickstarter campaign to launch their business.
Adrienne Faurote
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As far as influential designer brands go, Prada and its sister brand Miu Miu take the cake season after season. Over the past several years, multiple trends that went mainstream were first spotted on Prada and Miu Miu runways, and S/S 24’s trends are no exception. Many of the trends we’re all wearing this winter were undoubtedly birthed by one or both of these brands (crewneck cardigans, pencil skirts, and pointed-toe flats, to name a few).
I’m sure you didn’t think I’d make the above statement without sharing the new trends with you, and you would be correct. Below, I’ve highlighted some of spring’s most prominent trends to come, all of which my eagle eye spotted on the Prada and Miu Miu S/S 24 runways.
Scroll to see the runway birthplace of spring’s most highly anticipated trends and shop versions (both designer and more wallet-friendly) of them for your own wardrobe.
Allyson Payer
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In the world of organic feminine-care products, Rael has emerged as an industry changemaker. At the helm of this innovative brand is its co-founder and CEO, Yanghee Paik, whose journey from the entertainment industry to fem-tech entrepreneurship is nothing short of inspiring.
With the mission to revolutionize the feminine-care industry, the initial idea for Rael began out of frustration with the lack of clean, high-performance personal-care brands in America. Transforming their frustration into fruition, Paik and her co-founders decided to bring the advanced fem-tech products that they grew up with in Korea to the outdated U.S. market. In 2017, they took the leap and leveraged Korean manufacturing technology to launch Rael with a single product—an organic-cotton pad. Impressively, the cotton pad rapidly became the best-selling pad on Amazon, proving that the need in the market was there.
Rael’s success didn’t stop at organic-cotton pads; the brand has expanded its offerings to include a wide range of organic feminine-care products, skincare, and supplements. Throughout the growth of Rael, Paik has never lost sight of the goal to provide support in every phase of the menstrual cycle in a sustainable, holistic way. Yet before Paik became a true trailblazer in the fem-tech industry, she spent over a decade working in the entertainment world.
Growing up in Korea, she harbored dreams of making her unique mark on Hollywood. Her plan involved working as a consultant, gaining acceptance into an American grad school, and ultimately leveraging her education for a successful career in entertainment. Her ambitions led her to Harvard Business School, where she honed her business acumen, ultimately achieving the goal of becoming an executive at Disney.
Listen to the latest episode of Second Life to hear how Paik’s career path led her to make a significant difference in women’s lives. And keep scrolling to discover some of Rael’s best sellers.
Adrienne Faurote
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Can you talk to me about how the heck the two of you ended up in your current roles with your current careers?
Nicole DeJulio: While I was in school for design, I interned for two different stylists. At the time, there weren’t a lot of celebrity stylists in Los Angeles. There was only a handful. I had the opportunity to work with Phillip Bloch and Linda Medvene. From that experience, I was like, “I think I’m really into the design part of this job, so I’m going to concentrate on design.”
I had this great idea. I was getting ready to graduate. I had like six months left, and I had this great idea that I was going to propose to my dad to continue my studies and get a master’s in costume design. When I presented the idea to him, he literally laughed in my face, and he said, “No, you’re not. You’re gonna get a job.” I was like, “Oh, okay.” Cut to a couple nights later, we were at dinner in New York in Soho, and three booths over was Linda Medvene.
I was so excited to see her and also so nervous. … Will she remember me? How do I say hi? What do I do? My 8-year-old niece Kayla looked at me and said, “What’s the big deal? I mean, what’s the worst that can happen?” Just hearing that from her, I got up from the table, and I walked over. She was lovely. We exchanged numbers, and it felt really good to have the courage to walk up to somebody who I really looked up to.
Then it was six months later, and I decided to make a list of all the people I had met since moving to L.A.—not necessarily to look for a job but just to connect and see what they were excited about in the business, what was happening in the business. Linda happened to be the first person on my list, and she answered the phone. She said, “Oh my gosh, Nicole, I cannot believe you’re calling me. I needed you to start yesterday.”
I did, and Wendi and I both went on to assist Linda [Medvene] for about two and a half years.
Wendi Ferreira: I got brought in because I had moved to L.A. from Orange County in January of, I think, 2001. I came here. I wanted a job. I had been working in fashion at Guess. Nicole called me and was like, “We need you now. We need you to meet us at the tailor’s. We need you to meet Denise Richards. Linda and I are busy, and we can’t get there in time for her.” So I show up, and this is the same thing: It’s the courage it takes to decide you can do this and jumping into something brand-new. I show up, and I introduced myself to Denise Richards as Linda Medvene’s assistant and took it from there. Carried on with the Golden Globes that year.
That was the start of Nicole and I working together as assistants. Opportunity took us in different directions from one another. In 2003, after about two and a half years of assisting, Nicole went on to do a tour with Sheryl Crow, and I worked on The Ellen DeGeneres Show. After about a year and a half or two years of that, we’re like, “What are we doing? Why aren’t we doing this together?” So we teamed up, and here we are.
Madeline Hill
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Long before she nabbed the part of Eli’s mother Frankie, Tonkin was your average fan of Dalton’s most-talked-about work. She remembers the book being everywhere in Australia when it first came out. It was the book-club book at the time, and her mother gifted her with it for Christmas in 2019. When she got the job a few years later, Tonkin revisited the material, and this time, reading it was a bit surreal. Instead of picturing someone else as Frankie, she was picturing herself. The original text ultimately became Tonkin’s bible while filming. “Having a book, especially a book so detailed as Trent’s book, was so invaluable for creating this story,” Tonkin says. “Television is also a very different medium, but it just added such a strong foundation.”
In addition to the book, Tonkin consistently referred back to an interview with Dalton where he explained his reasons for writing the book. “[Trent] shared that he was sitting with his mom, who Frankie is based on, in the garden with his young daughters. He shared that his mom turned to him and said, ‘I wouldn’t change anything in my life because it all led to this moment sitting here with you and watching my grandchildren dancing in the sunlight,’” she says. “For me, every time I would have a question about a scene or a line, it all just went back to that. … Even though things can be really hard and so unfair and so painful, there is something to be gleaned out of it. Hopefully, we’re all lucky enough to get to the end of our lives and look back at the patchwork of what got us there and think the same thing—that I wouldn’t have made any different decisions because I would have not wanted to change anything. For me, that was essentially the essence of the book and the essence of the show as well.”
Throughout the series, we see Frankie at different stages of her addiction—going through withdrawals, doing drugs, and recovering—but despite her sometimes questionable decision-making, Frankie’s love for her children is her North Star always. For Tonkin, this became her objective and driving force throughout the six months of filming. “Just because she doesn’t always make the perfect choice as a mother doesn’t mean she’s not a good mom, and it doesn’t mean she’s not trying to be a good mom, so for me, it was holding onto that piece of information. She just loves her kids so much, and she’s doing the best she can, and sometimes, that is it,” Tonkin explains.
Where the role became truly transformative for Tonkin was in the research. She immersed herself in as many books, blogs, and podcasts on addiction and recovery as possible. She read countless firsthand stories from people struggling with addiction themselves as well as their families. “I’ve always had so much compassion for people who struggle with addiction, and the stigma that people aren’t trying their best is just not true,” she says. “Looking at people’s stories like that versus this cliché idea of doing drugs, there’s a reason for it. There’s remorse. There’s guilt. There’s pain.”
There’s a line in the show that says, “It gets so good that you’ll forget it was ever bad.” It goes back to the message Dalton shared about his mother: After it all, she has no regrets because it got her to where she is today. Tonkin still repeats that line to herself all the time, especially when things aren’t good. It’s a constant reminder that, despite any turmoil in life, there is still hope.
Jessica Baker
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Let’s start from the beginning: how did you get into costume design?
Jacqueline West: Well, my mother was a fashion designer, but the last thing she wanted for me was the fashion business. So, I went to Berkeley to go to medical school, and shortly after that, I decided to change my major to art history, but there’s not a lot you can do with that. So, while out of Berkeley, I opened my own clothing store, which happened to be next to a very iconic restaurant that all the filmmakers in the Bay Area frequented—it’s where Coppola, Phil Kaufman, Spielberg, Lucas, and everybody hung out. It led me to meet all these filmmakers, including Phil Kaufman, who, after being a customer in my store, asked me to help with costumes for the film Henry in June. And that’s all she wrote.
And what about you, Julie? How did you discover that you wanted to work in fashion merchandising?
Julie O’Keefe: I grew up in Husker, Oklahoma, on the Osage reservation with my grandparents. When I was a junior in high school, they had a career day—looking back, I hope more school systems do that now, especially for rural communities when you don’t know what’s out there that you can do. But, on this day, a woman who owned the local dress shop in town came and spoke about how she had studied fashion merchandising at Oklahoma State University. After hearing her speak, I begged my grandparents to let me have a job, even though I didn’t have a driver’s license then. They said okay, so long as it didn’t interfere with school; I went to work at the local shop. At first, I was washing windows, but after about a year, they took me to Dallas to help purchase Junior’s clothing for the store. And that’s how I first learned how wholesale worked, how clothing is made and where they’re made, and about sizing, buying, and all of that. And then, after that, I went to school for fashion merchandising.
And how did you make the jump from working in fashion merchandising to becoming a cultural advisor in traditional Native American apparel?
Julie: After school, in my twenties, I went on vacation to Washington, DC, and I ended up never coming back (chuckles). It was interesting to be a small-town girl working in a bigger city; I worked at a high-end design shop. It dealt with all types of clientele, from the Kennedy family to sheiks from Saudi Arabia, and because all of the diplomats are based in DC. From that experience, I learned all about how to import antiques. Eventually, it led me to hone in on sourcing and producing Native American clothing for various projects, including the First Americans Museum and, more recently, the film. Honestly, I’ve never even thought about the movie industry at all. But I used all those skills I’d cultivated to work with Martin [Scorsese] and Jacqueline [West].
Jasmine Fox-Suliaman
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Lindsay Holden is the co-founder of Odele, a trailblazing haircare brand that’s changing the game with inclusivity at the forefront. Derived from the Norwegian phrase meaning “to share,” Odele is designed for anyone who showers, regardless of age or gender.
In 2020, Holden, alongside her co-founders Britta and Shannon, embarked on a mission to revolutionize the haircare industry by introducing Odele as a brand that’s clean, inclusive, and offers salon-grade haircare solutions for all. While launching a brand amid a global pandemic might seem like a daunting task, Odele defied the odds and achieved profitability within its first six months of business. Today, the brand consistently contributes to charitable organizations, has garnered acclaim from publications like Cosmopolitan and Women’s Health, and proudly sits on the shelves of major retailers such as CVS, Ulta, and Target.
But before Holden began making waves in the haircare industry with Odele, she spent an impressive eight years in the retail industry, working at Target in various buyer and merchandising manager roles in the Domestics + Home department. In her time at Target, she honed a keen sense of what makes a product truly exceptional, providing invaluable insights for Odele’s development.
Prior to her tenure at Target, Holden actually kick-started her career as an account manager, first at the renowned mattress company Serta and later at the image licensing business Corbis. Listen to the latest episode of Second Life to hear how Holden’s strong foundation in business and relationship management led her to building an incredibly successful beauty brand. And keep scrolling to shop some of our favorites from Odele.
Adrienne Faurote
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Let’s get one thing clear: The fashion industry’s relationship to marginalized communities has always been fraught. It doesn’t take an expert eye to see the length of history sidelining and often straight-up excluding many identities that don’t fit into a stringent box of thin, cisgender, heterosexual, and white. The charge for more representation—be it for radical size inclusivity or commitments to racial diversity—has largely left out Native Americans despite the often misappropriated influence their rituals and traditions have had on fashion and beauty.
Representation may seem like a surface-level answer to some, but to these three Native American models, it’s not just important—it’s everything. “I have people message me constantly,” shared Valentine Alvarez. “I can actively see myself changing the industry.”
One sentiment each model echoed was the passionate backing of their identities and unwillingness to bend to the industry’s will. Nonconformity seemed to be a theme among our conversations with these three budding stars, and while models may not dictate things like casting or sizing, the impact that their visibility has on the rest of the world is something that can’t be measured.
With November marking Native American Heritage Month, we sat down with rising runway talents Alvarez, Celeste Romero, and Kita Updike, whose presence alone marks a significant shift in the industry. Ahead, read our discussion on Indigenous identity, why representation matters, and the moments they consider to be their “big breaks” (so far).
Indigenous affiliation: They grew up in Tongva territory in Southern California.
Why is your Native American identity important to you? What is your favorite part about being a part of this community?
Owning who I am through and through is very important to me. Every identity attached to me is important to me because that quality in me is a connection to someone else. It’s important to me to leave an impact on people, big or small. A great thing about connecting to my identity is the feeling of togetherness it brings, the way people who share a community with you will gravitate toward you and bring you up.
What kind of influence (if any) do you feel your identity has on your work as a model? Why is representation in the industry important to you?
I have people message me constantly about how seeing my face somewhere random inspired them to pursue modeling. I can actively see myself changing the industry. I remember being young and flipping through magazines, and the one thing that always stuck out to me was that no one looked like me. Nobody had a nose like mine or my skin tone. Nobody had piercings or tattoos, let alone traditional tattoos. Now, we have people like Quannah inspiring Native people all over the world by being the first. It’s important to feel like you are a part of this world. It’s hard to feel that way when you don’t see yourself anywhere, and I’m glad that I can be a part of this amazing group of people who represent their place in this world.
How long have you been modeling, and how did you get into it? How has your experience been?
I have been modeling for a little bit over a year. I actually was given a lot of help starting. A friend of mine casted me for an Instagram ad, and the photographer was really encouraging. Afterward, my friend took my digitals and helped me submit my pictures to agencies. My mother agency reached out to me very shortly after, but I was sucked into the coffee-shop grind and ignored them for almost a year. In June 2022, I had my very first job (with one test shoot in my book) and debuted with Marc Jacobs. It’s been a wild ride!
What have been some of your career highlights so far? Can you point to any moment as your “big break?”
I think my biggest highlight was quitting my coffee-shop job, calling a congressperson to get a passport in two days, and flying to Paris all in the same week. It really felt like that was my big break at the time—walking for Chloé and Valentino in Paris—but I think it was really this last season. I think this is so surreal to me that I never think it’ll get better than this.
What kind of impact do you hope your work has on the industry?
I really hope that queer, Latinx, and Indigenous people see themselves in me. I hope that I am opening doors for people or at least letting them know that these doors can open for us too. I hope that people with face piercings and big scars and visible tattoos can see me and know that they can be there too. They can work for Fenty. They can walk for fashion shows in Paris. Things that they think are impossible for them are possible.
Describe your personal style. What are several pieces that define your wardrobe right now? Any favorite brands or designers you love to wear?
I like to describe my personal style as “goth librarian.” I wear a lot of long cardigans, especially a long black cardigan that’s very similar to the one I wore for in the Gabriela Hearst F/W 22 show. I think it’s partly why Camila chose to style me in that look. It’s definitely my staple piece. I also love a good sneaker, like my white Converse. They have a little platform on them, and I don’t wear a shoe if it doesn’t have a platform.
Indigenous affiliation: While I do not claim to be affiliated with any Indigenous group, I am Mexican American, and my ancestors are Yaqui from Sonora, Mexico.
Why is your Indigenous heritage meaningful to you?
I grew up in Southern California. I love to know where my family comes from and the lives that they lived to get me where I am today. It’s a huge community that growing up I didn’t ever see good representation of, but I’m happy things are changing.
What kind of influence (if any) do you feel your identity has on your work as a model? Why is representation in the industry important to you?
My first cover with Vogue México was released this past year, and they published an image of my side profile. Growing up, I was insecure about my nose because of bullying, and I never saw anyone on billboards or on covers that looked like me. Through modeling, I have grown to love and appreciate my features. I am proud to be an inspiration for young people to pursue modeling.
What have been some of your career highlights so far? Can you point to any moment as your “big break?”
My favorite highlights are getting to set and knowing pretty much everyone’s name. There is something so comforting to me about going in with a team I know and love. I feel like this whole experience is a big break for me at this point. I’ve had so many jobs where I, to this day, can’t comprehend I did. One of my favorite jobs was the Chloé campaign I shot, though, because I’ve never driven through the States like that, and to see all the beautiful landscapes was absolutely a dream.
What kind of impact do you hope your work has on the industry?
I hope my impact is toward young people who look like me. [I hope they] see themselves when they see pictures or videos of me and know that they can be a model, actor, or anything in the public eye as well.
Describe your personal style. What are several pieces that define your wardrobe right now? Any favorite brands or designers you love to wear?
In my day-to-day style, I like to wear men’s clothes. I have a plain black T-shirt for every day of the week and usually style outfits around that, but if I’m being honest, I usually just pair it with some black jeans. My favorite thing that I would say I go a little more adventurous with is my shoes. I have lots of boots, Vans, Converse, Jordans, and Nikes.
Indigenous affiliation: I am Chippewa, and I grew up in Northern Indiana.
Why is your Native American identity important to you? What is your favorite part about being a part of this community?
My identity was originally important because it was a connection to my biological father’s family. As I grow more in tune with my identity, I realize how important it is to be present as an Afro-Indigenous person. It can’t feel that we are looked over in our communities because we also have Black heritage. For a long time, that fact actually scared me from surrounding myself with other Native people.
What kind of influence (if any) do you feel your identity has on your work as a model? Why is representation in the industry important to you?
I’ve felt many times people discount my Native blood because my skin is darker, or I have some different features as a mixed person. In this industry, there is often a practice of tokenizing groups of people, whether purposely or not. Because of this, they look for what they identify as “looking Native” and want to use that in their work. I would like this stigma to be broken.
How long have you been modeling, and how did you get into it? How has your experience been?
I’ve been modeling full-time for about three years. I was always interested in the idea because I find clothing so deeply personal and transformational. I was then lucky to meet my mother agent and close friend Nicholas Policarpo of Clover Model Management. I also had help from Greg Chan before that, who was always pushing me forward.
What have been some of your career highlights so far? Can you point to any moment as your “big break?”
Without a doubt, one of the Vogue Italia 100th anniversary covers. It may seem silly, but a lot of the other girls I’ve met while working have been a very big highlight. I’ve always had some anxiety with meeting and making friends. The difficulties and rewards of this career quickly bring us close with ease.
Describe your personal style. What are several pieces that define your wardrobe right now? Any favorite brands or designers you love to wear?
I don’t have a specific style. I might gravitate toward some items, but I can feel excited about anything that achieves the vision of that moment. I don’t have specific designers/brands, but there are shows or collections that have inspired me:
Versace S/S 04: The clothes, the hair, the music, and the walks.
Fendi Couture F/W 16: Location, cascading waves, and living dolls.
Fendi F/W 20: Coats, plus serpentine runway salon and “cinnamon roll” hair.
Dior Couture S/S 07: Theatrical art, perfection, and perhaps the best show of all time.
Dior collections of the late ’40s to ’50s: Corsets, gowns, tailoring, and attention to detail.
This post was originally published at an earlier date. Since our support for the Native American community is forever, we thought we’d update this story and any sold-out products to make it easier to support the cause.
Anna LaPlaca
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Even with the strides the industry has taken to address the underlying biases that inform casting, it’s still falling short. According to analysis and research conducted by Vogue Business, only 0.9% of 9584 runway looks in New York, Paris, Milan, and London shown during the spring 2024 season were plus-size. Approximately 86 looks were above a size 14. While fashion’s inclusivity problem appears to have gotten slightly better since last season, with only 0.6% plus-size looks during the fall 2023 season, it’s actually a lot worse than it appears. Alexander McQueen, arguably one of the biggest brands featured in the outlet’s report, was listed as the most plus-size-inclusive show in Paris with 2.2% percent of looks being shown above a size 14. That translates to just one model.
“There were some encouraging, baby steps from major labels we had not seen before. That accounts for some of the increase, at least,” Lucy Maguire, the senior trends editor who has spearheaded both editions of the project, explained to Who What Wear. Since the team began to track the data earlier this year, more and more eyes have been on which models get to be the face of the body-positive movement in fashion.
Maguire explained that throughout fashion month, she and her team analyze every single photo per city, according to Vogue Runway, and determine how many looks in a collection are straight-size (0 to 4), mid-size (6 to 12), and plus-size (14+)—which is confirmed with brands within a 24-hour period. She admitted smaller brands were most responsive throughout the project, a note Maguire attributes to the fact that they’re often the ones pushing for the most diversity within traditional runway spaces. In newer fashion capitals like Copenhagen, both designers and governing fashion bodies have set size inclusivity as a top priority, going so far as to require participating brands to take steps toward diverse casting. During her reporting, Maguire reached out to the organizations that set the standards and regulate fashion shows—including the Council of Fashion Designers of America and Fédération de la Haute Couture et de la Mode, which lead New York Fashion Week and Paris Fashion Week, respectively. Both declined to comment on whether or not they would take measurable, quantifiable steps in a similar way. Until they sign on, Maguire believes, not much is going to change systematically.
Gessel was one of the 86 models touched upon in the Vogue Business report, with the 25-year-old walking in the most size-inclusive show of the season by far, Karoline Vitto supported by Dolce & Gabbana, in which 43.3% of 30 models were considered plus-size—or, approximately 13 models were above a size 14.
“I was stunned. I was shocked, but at the same time, I wasn’t. These numbers make sense: My [other plus-size model] friends didn’t book anything,” Gessel said, referencing the report. “It doesn’t feel fair. It doesn’t feel right. There are some brands that got notoriety for including plus girls—real plus girls—into their shows. And then they got clout. And then they stopped.”
Ana Escalante
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“This book is the most me I’ve ever felt on a page consistently,” Cleo Wade says of her fifth published work, a collection of prose and poetry called Remember Love: Words for Tender Times. Hitting shelves October 17, Remember Love explores how we can return to the light in darker times, how we find steadiness in the midst of an ever-changing and chaotic world, how we find love again after heartbreak, and how we find strength in letting go. On the page, it is Wade at her most vulnerable, a diary of sorts. For that reason, she is feeling understandably different about this piece of work. There’s a different sense of pride—not just that she wrote a book but that she did the work on herself and could create a road map for others. And there’s a different nervousness in finally sharing it with the world. “It’s really a personal triumph for me,” she says.
Remember Love came to Wade at a time when she least expected it. The New York Times best-selling author, activist, and poet had released four books—including Heart Talk, Where to Begin, and the children’s book What the Road Said—in rapid succession. After wrapping up an extended book tour while pregnant and splitting her time between Los Angeles, New York, and London, she hit severe burnout. She was unsure of what her future book life looked like and told her literary agent she wanted to explore different avenues and that she’d come back to writing in five years. Shortly after, Wade bumped into postpartum depression after the birth of her first daughter. As she sat in the bathtub one night with her mind in a haze as she listened to a meditation podcast by Tara Brach, attempting to do things she knows are good for her, she heard Brach say two words: “Remember love.” A light bulb clicked on.
“In the way that I know people have this experience with my own work, I had something snap in me,” Wade says. “It didn’t heal my postpartum depression, but I was in this fog, and it just gave me this bubble of clarity where I could witness myself for two minutes and be like, ‘Oh, whatever I think I’m doing, I need to change what my strategy is around getting through this.’ ‘Remember love’ ended up being the mantra that helped me because I was able to notice how love was not manifesting for myself. … I heard myself beating up myself, and I couldn’t hear that before because I was caught being that voice. There was almost this new thing that came, and that was to remember love. Can I be nice to myself? Could I be gentle? Could I look to this bottom place as a foundational starting point to change my life and my viewpoint? I got a Post-it note, and I wrote ‘Please remember love’ on it. I put it on the top of a board, and I started mapping this book from it.”
Wade went straight into reflection mode, recalling all of her life moments where it would have helped to remember love at the time. She went through experiences of personal heartbreak, the times she observed her friends go through things, the best advice she’d received from friends, and anything that she thought could be helpful to someone else. “I describe this book as I went into the darkest rooms of my personal self or history and retraced my steps to how I found a light within to relight the room, refind myself, rebuild life in some way,” Wade says.
A few weeks before the release, we caught up with Wade to talk about the scary process of writing Remember Love, the idea that love is our birthright, and creating the ultimate community on tour.
Jessica Baker
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Growing up, my mom and I walked the Susan G. Komen Race for the Cure every year. Volunteers used to pass out signs that read, “I walk for…,” to fill out. We always wrote my grandmother’s name, as she died of breast cancer when my mom was young. At that point in my life, breast cancer seemed like a nebulous, intangible disease to me—I knew my grandmother had died from it before I was born, but I didn’t know anyone personally who had breast cancer. Now, the number of women that I alone know who have been affected by breast cancer keeps climbing.
For far too many of us, breast cancer has hit close to home. The American Cancer Society reports that one in eight women in the United States will be diagnosed with breast cancer in their lifetime, and besides lung cancer, breast cancer death rates are the highest of any cancer. In 2021, the World Health Organization found that breast cancer had become the most common form of cancer worldwide. As of January, over 3.8 million women in the United States have a history of breast cancer, according to an ACS study on cancer treatment and survivorship statistics.
October is Breast Cancer Awareness Month, and it’s a great time to consider donating to support breast cancer research. There are new advancements every day that offer hope for people battling breast cancer, and your dollars can make a major difference. A few organizations to consider donating to:
Breast Cancer Research Foundation
Breastcancer.org
Living Beyond Breast Cancer
National Breast Cancer Foundation, Inc.
Susan G. Komen
Young Survival Coalition
In the beauty sphere, many brands are donating part or all of their proceeds to causes supporting breast cancer research for Breast Cancer Awareness Month. Here are some of the brands that are putting breast cancer advancements at the forefront this October. If you’re buying beauty this month, consider opting for one of these products.
Katie Berohn
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It doesn’t take much these days to conclude that so many tragedies are happening in the world—one only needs to open a newspaper or their social media app of choice to witness those factual brutalities. But for some, that reality isn’t something you can flip or scroll past, as it lands so much closer to home. For those with Ukrainian roots, the headlines that have surrounded the country’s ongoing war with Russia are a reality that’s influenced every aspect of their lives for years.
It wasn’t so long ago that Russia first annexed the Crimean peninsula back in 2014 as an aggressive territorial grab. But for the first time in nearly eighty years, we’ve seen the first-ever land war in Europe begin again. When Russia made its first air-raid invasion into Kyiv in February of 2022, that moment forever changed the lives of millions of lives in a way that no single headline could ever fully humanize or honor. However, as the Ukrainians have mounted their counter-offensive, we’ve been thinking about how imperative it is to continue to shine a light on what Ukrainian creatives are facing.
It’s more pivotal than every to not only honor the plight, trauma, and inhumanities many Ukrainian citizens face now but to show their resounding strength in the face of such challenges. And while fashion can feel trite compared to all the other tragedies happening in the world, it can also be its own form of fortitude in the face of such darkness. Or at least, that’s how many Ukranian creatives living through the daily horrors of the war and continuing to run businesses see it. For so many, Ukranian emerging fashion brands, it’s not just important to keep creating clothing in the face of the war for pragmatic reasons—for them, it’s vital.
In light of the continued conflict, we reached out to a group of eleven fashion designers to have them share what it’s been like to continue creating amidst the war. We discussed their challenges, hopes, fears, and vision for their brands and what the international fashion community can do to support them right now. Their work is a reminder that art can act as a beacon of hope in the face of great uncertainty.
Photo:
Courtesy of Hvoya
About the brand: Designer Simich-Moiseienko Maria conceived of footwear label HVÓYA before turning 19. Today, the brand’s eclectic lens on minimalist flats and sleek ankle boots has caught international attention counting Ukrainian first lady Olena Zelensky as a fan who wore a pair of its flats on the cover of American Vogue. Here, we spoke with Maria on building and maintaining a brand throughout the ongoing war.
For those who are unfamiliar with your work, how long have you been in the fashion industry?
Simich-Moiseienko Maria: On the eve of my 19th birthday, I decided to pursue my own business. The same year, I opened a small clothing store located in an apartment—nothing fancy. I did it all by myself, and Pinterest provided many ideas for the space. Back in 2015, it was very common to have a small showroom, as many Ukrainian brands began to actively appear after Russia’s first invasion of Crimea in 2014. At that time, as a nation, we embarked on a path of paying attention to what was happening within the country and working to recognize its numerous talents and opportunities. For me, a part of that journey was allowing my curiosity and fearlessness to drive me to create shoes. Then, I realized I had fallen in love with creating footwear, and HVÓYA was born.
Why did you decide to focus on flats and low heels? Which was the first pair you launched with?
SMM: The first ones were minimalist nude-colored sandals with low heels. Now, I would describe them as boring and definitely in need of improvement. But if it weren’t for those sandals, there wouldn’t be HVÓYA now, so I am still very grateful to them! Perhaps we had shoes with heels for a while, but I soon gave that up based on my own feelings. Personally, I have no need or desire to wear high-heeled shoes. The pace of life and the number of roles in it—designer, manager, mother, wife—are such that no matter how comfortable high-heeled shoes may be, they still end up being uncomfortable. I am not willing to endure discomfort for the sake of slimmer ankles or extra height; that’s why I am a 100% customer of my own brand. We don’t compromise between comfort and style; of course, not everyone shares our vision of “beauty.”
How would you describe the aesthetic world of your brand? Who is the Hvoya girl?
SMM: The brand embodies a blend of intellectual minimalism, eclectic elements, romantic flair, and a rebellious spirit. A HVÓYA woman can be anyone—she can have any profession, be of any age, be a mother or childfree, be married, be in an open relationship, or be in a relationship with herself. However, she will undoubtedly be free in her self-perception and self-expression and be liberated from the judgments of others. She chooses herself and grants herself the freedom to be whoever she wants to be, just as she desires today and every day.
About the brand: In 2017, designer Mary Furtas turned her obsession for comfortable and functional partywear into her A-list-adored brand, Cultnaked, which has had a meteoric rise in the years since. We spoke with Furtas about the brand’s evolution, her obsession with quality and fit, and the need to persevere throughout the war.
When did you launch Cultnaked, and what compelled you to start a brand? And how has the business evolved over the years?
Mary Furtas: I have been in fashion since I was 15; I started working as a fashion photographer, and then I decided to launch Cultnaked in April 2018. I started a brand for girls like me who needed a comfy yet sexy wardrobe for everyday life and parties. The first hero product was a skort, and it took off really quickly, conquering the hearts of like-minded women. Also, I was eager to bring something new to the fashion business vision, creating an on-demand model and dismissing seasonal dressing whatsoever.
Since your 2018 launch, you’ve grown the brand tremendously, dressing A-listers and It girls all over the world. What stands out as your proudest moment to date?
MF: My proudest moment to date is making it into the Vogue Business 100 innovators list thanks to the structure of Cultnaked, which operated on a made-to-order basis. It’s honestly wild to think how much the brand has grown.
Apart from the brand’s party-ready aesthetic, the pieces are incredibly well-made and surprisingly comfortable. Why is the quality such an important part of your brand? What made you want to focus on perfecting fit and feel?
MF: Comfort and quality are the main factors in the longevity of a product. If the item has a low price per wear and keeps on performing, it’s as sustainable as a fashion product can be. We’re constantly exploring different eco-fabrics, such as the sea plastic used in the Stardust pieces.
Photo:
Courtesy of Viktoria Udina; Courtesy of Nué Studio
About the brand: Nué Studio is a line of seasonless, investment-worthy partywear. Often compared to jewelry, the brand’s signature elevated take on crystal embellishments has earned it a cult following on social media. Designer Viktoria Udina spoke with us about her brand and the power of the global Ukrainian community.
For those who are unfamiliar with your work, how long have you been in the fashion industry? And what compelled you to start Nué Studio in 2019
Viktoria Udina: I’ve always been into fashion since I was very young. I was passionate about styling and finished a few courses, but I never thought I would have a brand one day. My love for fashion stems from my family, as I used to work in a fan-run textile business, so it was obvious for me to be involved in this sphere. But, I had no experience in creating a brand—I only had a financial education and a few specific fashion courses. Yet, I had an enormous desire for creativity and self-expression, so I finally warmed to creating a small drop label. I created only a few statement pieces without a business plan, and it worked. The brand has evolved so much since then, but I’m so happy I went through all the processes on my own, as I can define myself as a designer and an entrepreneur.
Your collections often feature show-stopping bejeweled elements that Ukrainian tailors create—for you, how important is it to champion craftsmanship in each of your collections? And is the process of working with artisans a collaborative one for you?
VU: Nué Studios is often compared to jewelry—primarily for the filigree work with rhinestones—and I’m proud of it. Implementing handcrafted techniques is our distinctive feature and the most essential part of my creative process. We source artisans who love to create with their hands, and we want to champion their skills through our designs. There is a definition of “jewelry wardrobe” – decorations you wear daily or occasionally. The ethos behind the brand is all about creating a wardrobe of clothes just as precious and essential as jewelry—the recognizable garments, radically changing the perspective of the look, which are intended to remain relevant for years to come.
How would you describe the aesthetic world of your brand? Who is the Nué Studio girl?
VU: The Nué girl knows that she is her greatest treasure. Her personality, intelligence, body, sensuality, and freedom to express herself should be honored. Every day for her becomes a celebration of life—a holiday without a reason nor a destination, uncovering the many different shades of self-love. The brand celebrates the concept of prêt-à-party with scintillating sexy pieces cut in the signature rhinestone fabric and elegant silk gowns and highlights the handmade techniques. Our designs are all about embracing femininity and sensuality, which is timeless. It’s a perfect balance between sparkling and intellectual and emphasizing body positivity.
Photo:
Courtesy of Svitlana Filiuk; Courtesy of L’eskizzo
About the brand: Founded with the goal of providing suits for the modern woman, L’eskizzo is a study in contemporary tailoring for both the corporate and fashion-girl customer. We spoke with designer Svitlana Filiuk about championing Ukrainian tailors and dressing the modern “power woman”.
You founded your namesake label in 2015—what compelled you to start a brand? And how do you see the brand continuing to evolve?
Svitlana Filiuk: Before entering the fashion world, I worked in corporate business. I would go to the office every day and have regular meetings with customers where I needed to look professional, but I wouldn’t say I liked the outdated gray suits that the industry offered at the time. Being that so many inspiring entrepreneurs surrounded me at the time, that made me believe anything was possible and that I could create my own company. I decided to launch L’eskizzo as a capsule of tailored blazers as a new approach to office wear. Since then, we’ve been able to expand into ready-to-wear, but we remain focused on creating structured clothing that lends itself to becoming capsule wardrobe items.
Speaking of evolution, the brand’s initial focus was on providing suits for women, but it’s since expanded into offering more capsule wardrobe items. What did you feel was missing from the market before you expanded into it? And what, in your mind, constitutes an item being a great staple?
SF: While suiting remains our focus, we realize that our clients would come to us first to choose the suit for their special occasion, and then they would ask for complementary capsule items from us. That pushed us to expand past blazers and create a main product line, including accessories. For us, a great staple is something that has both masculine shape and feminine details in it, is of exceptional quality, is made of natural fabrics, and has complex detailed work—we’ve woven that into L’eskizzo’s brand DNA.
How would you describe the aesthetic world of your brand? Who is the L’eskizzo girl?
SF: If I were to summarize it shortly, it would be: “power dressing.” Our L’eskizzo girl is busy; she has a career, whether it be in a corporate environment, a creative startup, or as an entrepreneur. She knows the power of dressing and uses clothes to make an impression.
About the brand: Having been worn by some of the buzziest names in the music industry, celebrity-adored brand Frolov toes the lines between playful and subversive with its recognizable heart-shaped cutouts. We spoke with label’s the namesake designer Ivan Frolov on the brand’s influences.
You founded Frolov in 2015— what compelled you to start a brand? And how has the business evolved over the years?
Ivan Frolov: I truly believe that designing has always been my calling. I love storytelling and exploration, and this is an absolute natural culmination of my desire to convey certain messages to the world via fashion. For me, it’s never been just about clothes; I always considered it a mouthpiece that helps tell stories and share discoveries that impact society as a whole—which is why social responsibility has always been an essential part of our brand. We went through a major financial crisis, COVID-19, and are still in an ongoing war, but we keep working, showing the world our resilience and strength.
You’ve dressed some of the buzziest stars of the moment, including Beyoncé, Dua Lipa, Sabrina Carpenter, and even Sam Smith—what has it been like for you to see your work out in the world? And when you are working with a celebrity, is there at all any collaboration through the creative process?
IV: Every time a celebrity wears our pieces, it becomes a massive “dream come true” moment for our team and even our country. Unfortunately, many such successes for the brand occurred during the Russian full-scale invasion of Ukraine, and right now, the only dream we have is a total victory for our country in this war. Still, we see it as a fantastic supportive act and an opportunity to show Ukrainian culture and fashion to the world. And back at home, any reason to be proud of our brands is fundamental, as it acts as tremendous moral support for the nation. For us, it’s such a moment of pride, and it would never happen without my wonderful and hardworking team.
You’ve spoken about how you’re often drawing inspiration from the BDSM and travesti subcultures in your work—for you, what role can clothing play in pushing how we collectively view the gender binary?
I was always inspired by how people express themselves in the most different ways, exploring themselves and radiating their personalities and inner beauty. The discovery of your own sexuality lies in the core conception of our brand, and our items are aimed to help with those discoveries. Indeed, my first collections were very much inspired by BDSM culture and cinematography, which greatly enhanced its emotional impression. For example, Liliana Cavani’s The Night Porter was a huge inspiration to dive deeper into this theme and aesthetics too. My visit to the Sitges Carnival sparked another collection dedicated to transgender culture. I was captivated by how beautiful and interesting the perception of the human body and clothes can be. Using fashion as a global platform, we’re establishing a mechanism where our collections create conversations around essential themes such as gender equality and human expression.
Photo:
Courtesy of Santa Brands
About the brand: Kyiv-based label Santa Brands has become an Instagram sensation for its nighttime aesthetic based on a signature sheer crystal fabric. Designer Iana Stanislavska spoke with us about pivoting from law to fashion and running a small brand throughout the war.
When did you launch Santa Brands, and what compelled you to start it? How has the business evolved over the years?
Iana Stanislavska: Before launching Santa Brands, I had a successful career as a lawyer. But my creative energy needed to be addressed, so I embarked on a new, exciting journey of launching my own label in 2019. What started as a small Instagram shop gradually became a full business venture—now we’re sold in stores all over the world, from Ukraine to The United States, and the list of clients keeps growing daily.
Where does the brand name come from? Is there a story behind it?
IS: I’ve named the brand after my daughter, Santa—my greatest source of motivation and energy. I wanted to create something that would make her believe it’s always a great idea to follow your dreams. Setting an example for her by being a woman in business is something that makes me work harder every day.
Your brand is based in Kyiv—how do you feel your heritage has informed how you approach style? How does it influence your collections on the whole?
IS: I believe that our dresses reflect the spirit of Ukraine and Ukrainians who try to remain positive, keep the fire inside, and enjoy their life even in the darkest times.
About the brand: Fashion-insider favorite Sleeper was founded in 2014 by former fashion editors Kate Zubarieva and Asya Varetsa. Its internet-breaking feather pajama set launched it to cult-loved status and shoppers keep returning for both day and nightwear. We spoke with the designers about their biggest milestones after nearly a decade of Sleeper.
When did you launch Sleeper, and what compelled you to start a brand? And how has the business evolved over the years?
Kate Zubarieva: We founded Sleeper in Kyiv, Ukraine, in 2014, at the height of the Revolution of Dignity and the subsequent war that unfolded in the country. We achieved some high points in our careers, so our experiences pushed us to create something new, something that belonged to us.
Asya Varetsa: Back on Christmas Eve of 2013, we were watching Curly Sue with our friends, and Kelly Lynch, who played Grey Ellison, was wearing a striped robe during one of the scenes. Kate and I exchanged glances and simultaneously decided that was a truly cool look. That night, Kate had a dream where she was standing in the middle of a pajama factory. In the morning, she called me to propose starting a homeware company. Six months later, Sleeper launched its first collection. In January 2015, Franca Sozzani, the late editor-in-chief of Vogue Italia, named Sleeper as her favorite brand of the month.
KZ: Since then, Sleeper has evolved from a collection of daywear pajamas handcrafted by the small atelier in Kyiv to the international brand that now also carries footwear, outerwear, athleisure, and beyond.
Despite its name, your clothing is widely regarded as much more than simply sleepwear. Why did you decide to start with a line of pajamas as opposed to any other clothing category?
KZ: When we started Sleeper, finding elegant and chic nightwear outside the luxury end of the market was challenging, never mind the loungewear that could be worn outdoors. We’ve decided to create the garments for ourselves—comfortable, good-looking, affordable, and filled with effortless elegance.
AV: Today, Sleeper suggests much more than sleepwear. Sleeper takes the feeling of comfort and the sense of home and weaves them into beautiful garments that are easy to wear. We have a small but authentic shoe line; we create accessories and swimwear, and this year, we introduced outerwear. Also, for the FW’23 season, Sleeper will unveil its first collection of pieces made from warm fabrics, making a signature feathered ‘Sleeper look’ chilly-weather friendly. The line is represented by blazers, maxi dresses, quilted jackets, ponchos, and a sweater created for a frosty season. And our new shoe style is mitten boots, inspired by our childhood.
Sleeper was an instant hit right out of the gate, and you were both named in Forbes’ 30 under 30 in 2019. What does success mean to you now, and is it different from what it meant to you in the brand’s earliest days?
KZ: Success has never been the aim, but it’s the sign that everything we do is in demand. That means that we can grow bigger and faster, and more people in the world can discover beautiful garments made by Ukrainian craftwomen.
Anna LaPlaca
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In the ever-evolving world of fragrance, where scents transport us to different realms and awaken our senses, D.S. & Durga has emerged as a beacon of olfactory artistry. As the visionary creative director and CEO of D.S. & Durga, Kavi Ahuja Moltz is transforming the perfume industry.
In 2007, Moltz and her now husband, David, embarked on a fragrant journey, launching D.S. & Durga right from their apartment in the heart of Brooklyn. Fast-forward to today, and their brand has grown significantly with a dynamic line of perfumes, candles, and bodycare products featured in their beautifully curated brick-and-mortar stores, at luxury retailers like Bergdorf Goodman and Neiman Marcus as well as via direct-to-consumer shopping. They are the ultimate husband-and-wife duo. David is the “nose” behind the brand as a self-taught perfumer creating the signature fragrances that have garnered a loyal following like Debaser, I Don’t Know What, and Rose Atlantic. And Moltz is at the helm of the creative aspects of the brand, shaping its visual identity and leaving an indelible mark on the world of scent.
Moltz’s keen eye for design has undoubtedly set the brand apart in the beauty industry; thus, it comes as no surprise that her early career path was built on design. In fact, she began her career studying and working in architecture, fostering lifelong skills she still uses today with D.S. & Durga.
Listen to the latest episode of Second Life to hear how Moltz’s first career catapulted her into creating a leading fragrance brand. And keep scrolling to shop some of D.S. & Durga’s best-selling products.
Adrienne Faurote
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For Kaelen Haworth—creative consultant, stylist, and visionary behind Absolutely Fabrics—fashion transcends beyond a passion. A Parsons graduate, Haworth embarked on her fashion journey by creating her eponymous fashion line, Kaelen. The brand’s success was undeniable, earning it a coveted spot in the CFDA Incubator and a presence in esteemed retailers like Intermix and Shopbop. Building on this foundation, she launched Second Sight, a direct-to-consumer and size-inclusive brand that exemplified her commitment to accessible and stylish fashion.
Yet Haworth’s path took an unexpected turn, leading her into the world of editorial and celebrity styling in 2020—ultimately highlighting her adaptability and creative flair and showcasing her innate ability to seamlessly move between different facets of the fashion world. This September, Haworth’s journey is set to take another exciting turn with the opening of Absolutely Fabrics in Toronto. This concept store is poised to be more than just a retail destination. It will stock an eclectic mix of designer and vintage pieces, serving as a creative studio space and hosting an array of engaging programming, including trunk shows, shoots, and product-launch events. Absolutely Fabrics is set to become a vibrant hub where fashion enthusiasts can explore, create, and connect.
Haworth’s evolution within the fashion industry is a testament to her unwavering commitment to pushing boundaries and embracing new challenges. Listen to the latest episode of Second Life to hear how Haworth decided to take a major leap of faith by pivoting her position within the fashion industry and discover how she plans to evolve Absolutely Fabrics.
Next: Meet the Dynamic Duo of Blended Strategy Group: Allison Statter and Sherry Jhawar
Adrienne Faurote
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“Danish people like to travel a lot, and by traveling, you learn a lot from other cultures. Although we are a small place, the cuisine is very varied and well-informed,” Valdimars shares. “If you go for Italian, sushi, or Mexican, it is really made with passion and education.” Perhaps no other restaurant I’ve heard about in my research embodies this passion and attention to detail quite like Mangia, an Italian spot that I’ve heard repeated over and over among fashion people’s short list of the best restaurants in Copenhagen.
Skytte confirms my hunch. “It has the best handmade pasta that would melt your heart and the coziest vibe. The people who eat here always people seem to have good energy,” she says.
WWW Travels Tip: If you’re looking to make a reservation at Noma, Geranium, or any of Copenhagen’s other renowned restaurants, be sure to plan ahead and book your table well in advance.
More restaurants to jot down: Sindlev gave an honorable mention to Esmée, which she says is her favorite restaurant in Copenhagen, as well as Levi. For more casual dining, she suggests checking out Jah Izakaya and Delphine. Recently, Hoy has been spending a lot of time at a lovely restaurant her friends recently opened on Tagensvej called Casamadre.
Anna LaPlaca
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In the world of clean beauty, few brands have made as big of an impact as Kosas. With a focus on clean formulations that enhance natural beauty, Kosas has become a go-to brand for those seeking a balance between performance and skin-friendly ingredients. What’s more, the brand has repeatedly gone viral as its innovative products capture the hearts of millions of customers across multiple social platforms. Behind the brand, which is dominating the clean beauty industry, is visionary founder Sheena Zadeh-Daly.
Zadeh-Daly has built a brand consumers believe in, garnering popularity and, perhaps more importantly, credibility. If you’ve already experienced the magic that is the brand’s best-selling Revealer Concealer—or any of its other groundbreaking products—you likely understand the unparalleled quality. But Zadeh-Daly’s journey to creating one of the fastest-growing prestige makeup brands in the country is a fascinating one. Her career began in biological sciences, where she worked as a microbiologist in a lab. Today, her former scientific experiences undoubtedly play a significant role in shaping the development of Kosas products, which boast meticulous attention to ingredients and their impact on the skin.
Adrienne Faurote
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Mai Ling is going on a bit of a sartorial journey in season three too. “We start the season off classic because we have to remind the audience because it’s been so many years. But then she just veers off,” Doan shares. “In season two, I was used to all of the greens, browns, blacks, maybe a very dark navy blue, and all of a sudden, they’re pulling out bright blues, pinks, and light purples.”
From the get-go, Warrior has been praised for its costume design. With Moira Anne Meyer at the helm and a team of talented local craftsmen, the show has put out enough noteworthy looks to fill entire warehouses. But it’s with its alluring female leads, particularly Mai Ling and brothel madam Ah Toy (Olivia Cheng), where the bold design work really shines. Think 1870s-inspired looks with contemporary touches.
Doan says she has a fondness for Mai Ling’s classic warrior garb. “As soon as that shift happened in power, I called it my uniform. It was full leather, a lot of buckling details, and even my posture changes. As soon as I’m strapped in, it zips up, and my whole body, my shoulders are up and back. It’s the most incredible feeling,” she says. Beautiful and powerful, yes, but definitely not practical. In the Cape Town summer, where temperatures regularly reach 95° to 100° Fahrenheit, Doan says the suit becomes a “sweatsuit sauna.”
For a character that is never allowed to wear the same costume twice and is often wearing three to four looks an episode, Doan is in the costume department the most out of anyone. She guesstimates Mai Ling has upwards of 50 costumes this season alone. “My favorite thing is going in the costume room and just flipping through the Mai Ling rack,” she says.
Jessica Baker
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Courtney Storer is a modern culinary genius. As an esteemed chef and culinary producer for the hit FX TV show The Bear, Storer’s unique perspective on the culinary world has set the show apart. In fact, since its debut last summer, the show has garnered immense popularity, and its highly anticipated second season recently premiered on Hulu. Storer plays a vital role as the culinary producer, providing expertise and guidance on various aspects of the show’s culinary scenes. From honing the actors’ knife skills to ensuring their seamless movements in the kitchen, Storer’s attention to detail and commitment to authenticity shines through. She also lends her expertise to fine-tuning the industry jargon in the show’s scripts, contributing to its uncanny accuracy.
For Storer, food has always been a passion. Her culinary journey began after a bold career transition away from Human Resources at UPS and Whole Foods to pursue her passion for food. She enrolled in culinary school and gained extensive experience in renowned kitchens, including Verjus in Paris and Animal in Los Angeles. Eventually, she assumed the role of culinary director at the acclaimed Italian-American Jon and Vinny’s eateries, where she dedicated six years to elevating the business’s culinary offerings and establishing its iconic reputation.
Adrienne Faurote
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