● City Hall built on expansion of the initiative in 2015 and is looking to keep up the momentum this year.

BY ARTHUR FRIEDMAN

Call it serendipity.With what seems to be a headlong rush

toward transforming New York Fashion Week into consumer-facing shows, the

ongoing Made in NY initiative to boost New York City manufacturing in the fashion sector could be positioned to take off like a rocket. As more and more designers adopt a see-now, buy-now, wear-now approach to their collections, the need for fast deliv-ery and quick-turn production becomes paramount — and the city aims to take advantage of it.

“We’re in a really interesting moment in time,” said New York Deputy Mayor

Alicia Glen. “If the city can support a more modern manufacturing ecosystem, whether it’s clothing or furniture or 3-D printing, then it can really give New York the ability to get deeper into the conver-gence of technology and manufacturing and the focus on local production and artisanship. There’s probably no stronger brand in the marketplace right now than Made in New York, unless it’s Made in Brooklyn.”

Glen said designers she’s worked with, such as Rachel Comey and Rebecca Minkoff, could make their collections across the street or half a mile away and get quick, reliable deliveries to their retailers and not deal with some of the challenges of manufacturing abroad. “It’s a huge competitive advantage.”

The city now is out to build on that advantage and further bolster New York’s pipeline of creative talent. Glen on Tuesday revealed the Designers & Agents: Made in NY Collective, which will directly support the participation of local design-ers at trade events taking place during New York Market Week. The first is set for September, when a select group of fashion designers will be offered a series of Made in NY-branded and fully subsidized exhi-bition spaces at the Designers & Agents trade show.

Glen, who oversees economic devel-opment in Mayor Bill de Blasio’s admin-istration, said, “We thought to secure the opportunity for a young designer to participate in a trade show was more

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Vera Wang worked the fallen side of angelic for fall, topping skimpy black bras with sheer tulle dresses, and grounding them with chunky platform sandals. For more on the collections, see pages 5 to 8.

Fashion. Beauty. Business. 17 FEBRUARY 2016

SISTER ACTRalph Lauren is launching Tender Romance as part of Ralph Lauren Fragrances with L’Oréal. Page 3

OH, CANADASaks Fifth Avenue enters new territory north of the border with two Toronto flagships opening this month. Page 11

C’EST LA VIERebecca Taylor launches a more casual collection, La Vie Rebecca Taylor. Page 3

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● The collection of weekend wear will launch with 75 to 80 styles.

BY LISA LOCKWOOD

Rebecca Taylor is introducing a casual weekend line for fall called La Vie Rebecca Taylor.

“It’s a more casual lifestyle line,” said Taylor, cofounder and creative direc-tor, in an interview at her 80 West 40th Street showroom this week. “It’s meant to be worn, washed, shaken up and worn again.”

Taylor, whose $75 million contempo-rary brand is a division of Kellwood Co., said the idea for the weekend line came from many of her customers.

“So many friends of mine will wear Rebecca Taylor to work or a cocktail party, but they were telling me they weren’t wearing it on the weekend,” said the designer, who was wearing a vintage poplin blouse and black washed army pants. She said she wanted to address “those holes we were missing.”

La Vie Rebecca Taylor offers pieces

that feature the brand’s signature design elements such as delicate embroideries, feminine shapes, unusual prints and textures, all worked back to denim and twill bottoms that have a vintage sensi-bility. There are three different styles of denim pants (high-rise/straight leg crop; boyfriend/button-fly relaxed, and skinny with stretch), military-based chinos, full-fashion knits, washable linen tops with feminine detailing, cropped denim jackets, a washed peacoat and a few dresses. “These are clothes we live in,” Taylor said.

As for the French label, the New Zea-land-born designer said, “I’m not French, but I’m always at my best when I’m in Paris. I love the way French women dress so simply and chicly.”

The collection is manufactured in China, Los Angeles and Peru. There are roughly 75 to 80 styles in the first line. The plan is to ship about 15 to 20 new styles a month. The fall collection will be available at Nordstrom and several spe-cialty stores, as well as Rebecca Taylor’s eight freestanding stores and online.

Wholesale prices are $85 to $103 for denim; $55 to $115 for T-shirts; $55 to $75

for knits, $45 to $110 for wovens, and $120 to $200 for jackets.

Taylor said she expects La Vie Rebecca Taylor will be merchandised alongside the main collection, and “it’s built to comple-ment the Rebecca Taylor collection.” The company anticipates the new collection will generate $3 million in 2017.

“The idea is not to turn Rebecca Taylor into a massive denim brand,” said Janice Sullivan, president of Rebecca Taylor, whose previous roles were at Edun Amer-icas, Calvin Klein Jeans and DKNY Jeans. “This is the whole other side of Rebecca Taylor.” It will have limited distribution and will start to grow organically, she said.

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New York Fashion Week Fall 2016 Street Style● WWD went off the runways and onto the streets and sidewalks for the best looks from New York Fashion Week.

● 2016 Grammy Awards Red Carpet

● Beth Ditto’s Clothing Range

● Tory Burch RTW Fall 2016

● Carolina Herrera RTW Fall 2016

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TOP 5TRENDINGON WWD.COM

● The new Ralph Lauren fragrance will launch in April with a social-media-first campaign.

BY ELLEN THOMAS

And then there were three — Ralph Lau-ren Romance is getting another sister.

Tender Romance, launching in the U.S. in April, joins the original Romance scent, which launched in 1998 and is an established pillar of the Ralph Lauren Fra-grances repertoire, produced by L’Oréal, and Midnight Romance, an addition that launched in 2014.

The new scent is an attempt to draw in a younger — read: Millennial — audience to the Romance franchise.

“We are seeing today in the fragrance category some key evolutions — new kinds of trends in terms of juice, [in] talking to consumers, and a lot about digital,” said Guillaume de Lesquen, worldwide pres-ident of Ralph Lauren Fragrances. “Our idea is to strengthen Romance and make it more appealing to Millennials.”

Considering that The NPD Group reported that Millennials aged 18-24 were the heavy users driving the fragrance category in 2015, it’s not a bad strategy to have.

The scent, formulated by Honorine Blanc of Firmenich, is a floriental blend, comprising top notes of ginger, pear accord and bergamot, a heart of white

magnolia, jasmine and ginger lily, and a drydown of a cashmere woods accord, benzoin and musk.

Ginger, according to de Lesquen is “quite unusual in women’s fragrances but it brings sweetness and softness to the juice.”

“It goes very well with the idea of tender,” said de Lesquen, adding that the cashmere woods accord, which is derived from woodsy notes, “adds smoothness and warmth.”

Focus groups conducted before the new fragrance strategy was determined, found that sweet — but not cloying — juice is what Millennials are looking for, de Lesquen said.

Where Romance is a classic floral and Midnight Romance is a sensual floriental, Tender Romance, a stronger floral-ori-ental blend, was formulated to remain distinct from its sister fragrances. A new addition means marketing opportunities for the entire franchise.

“[Midnight Romance] is not one of those sisters that came and went for us, it’s still a pretty solid business. “We’re presenting these three stories of Romance together, like in a collection, and glo-rifying each of their main ingredients, said Alexandre Choueiri, president of

International Designer Collections for L’Oréal USA.

Tender Romance will be available in three sizes — 30 ml. for $54, 50 ml. for $76 and 100 ml. for $96. A 10 ml. rollerball will retail for $24.

It will launch in somewhere between 3,000 and 4,000 department and spe-cialty stores, as well as fashion stores and on e-commerce, including ralphlauren.com and the brand’s digital stockists.

Customization options such as bot-tle-engraving and monogramming will be available both as part of in-store person-alization events. “The more you person-alize, the more people feel into it,” de Lesquen said.

Digital efforts will be the crux of the Tender Romance promotional plan, which will appear first on social media. “This is our most digital Ralph Lauren launch ever,” Choueiri said.

Teaser videos of the TV commercial shot by Bruce Weber and set to the music of Ben Taylor — James Taylor’s son — singing a rendition of “Love Me Tender” as an attractive young couple sways in a tree swing, will be pushed out on social media in March, before the TV launch for Mother’s Day in April and May. The videos are quite short — only seven to 10 seconds long — but that’s exactly the point, accord-ing to de Lesquen. “With a strong, fixed message, these types of videos can be extremely successful [on social media].”

There will also be a traditional print campaign with scented strips.

Industry sources estimate Tender Romance will bring in $30 million world-wide in its first year at retail ($15 million at retail in the U.S.), and that the entire Romance franchise will increase Ralph Lauren Fragrance sales by 30 percent.

It’s not just young Millennials that Ten-der Romance is targeting. “What we call the Millennial phenomenon is threading throughout the generations, “ Choueiri said. “Much older people than Millennials are liking the same thing — customization, digital [and] shopping on mobile as well. It’s not longer just the Millennials, [but] the Millennials have kind of taken the lead.”

BEAUTY

Tender Romance Targets Millennials

A fall look from the La Vie Rebecca Taylor

casual line.

A visual for Ralph Lauren’s Tender Romance ad campaign.

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The Reviews

Thom Browne Once in khaki suits, gee, we looked swell.

That line from E.Y. Harburg’s Great Depression anthem “Brother, Can You Spare a Dime?” refers to World War I mil-itary uniforms rather than civilian finery. Still, it draws historical parallel to the sartorial sentiment behind the collection Thom Browne showed on Monday night. Lyricist and designer made a similar point: Across a range of life’s circumstances, style matters.

For fall, Browne looked at the shift from wealth to want, and the creativity that can ensue from necessity. “The Depression,” he said backstage. “It’s about re-appro-priating the clothing you loved when you

bought them when you were rich in the Twenties.”

There’s always poignancy in juxtaposing haves against have-nots, and, in the con-text of luxury fashion, potential contro-versy as well, played out most notoriously with John Galliano’s homeless couture collection for Dior Couture. Sixteen years later, one felt an unmistakable kinship with Galliano here, in the de- and re-con-struction and in the idiosyncratic romance. That’s not to imply creative pickpocketing. The broad strokes of storytelling, as well as deconstruction and hyper attention to tai-loring craft, are innate to Browne’s work. The result here was an exquisite collection.

Guests arrived to a set of a city square, outlined in skrim drawings of what

appeared to be 19th-century residences. These bordered a dirt walkway around the perimeter of a small park, its trees winter-barren but for the occasional ever-green. To open the show, two men slowly walked the garden paths before settling onto benches, their clothes reflecting the Edwardian style that extended into the Twenties. Then came the women, diverse of personality yet all stalwart, refusing to cave to their recent impoverishment. They believed in dressing well no matter what, even if it meant turning sacks into overcoats and old trousers into capes, or fashioning a coat from two old outerwear pieces, one long, one short, or covering holes here and there with denim patches.

Browne’s powerful fashion fiction plays

on our emotion. His corresponding prag-matic story: the craft. Browne is an expert tailor, an obsessive, risk-taking perfection-ist who revels as much in the construction of a garment as in the story he wants to tell through it. Here, he offered rich counter-point: clothes steeped in the exacting rules of the men’s wear tailoring he loves against languid knitwear and inventive pannier dresses that fell from the body with struc-tured grace.

It all made for a beautiful narrative and great fashion. At a time when others seek to shock with spectacle, Browne, one of fashion’s great, most devoted showmen, sent an important reminder that the schtick is only as good as the chic. — Bridget Foley

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Tory Burch Contrary to widespread belief, chroni-cling street style is not a creation of the digital age. (Our WWD forebears were observing, writing about and illustrating the fashions of the street as far back as the Twenties, when the “They are Wearing” logo was copyrighted.) Tory Burch has a thing for the Seventies sort, inspired by “L’Amour l’après-midi,” Éric Rohmer’s exploration of marital love and extracur-ricular lust, particularly the café scene in which the protagonist daydreams about various women, objects of desire, coming and going. If that’s not a hook for a collec-tion, what is?

Happily, Burch invoked the Seventies’

Vera WangVera Wang is fearless. She refuses to cave when it comes to expressing her vision that seldom works the most commercial side of the fashion street. “I still do believe there is room for an artistic vision, and craft,” Wang said during a preview. “Nothing has truly never been done [before], but what-ever you bring to it, what time you do it, is your statement.” When a guest noted the moodiness of a series of dark florals, Wang said, “I’m known for moody.”

At the same time, she is a business-woman who wants to sell clothes. Sexy sells, and she’s pushing herself to do sexy without selling out. Thus, no mermaids here. Rather, for fall, Wang crossed her art-ful inclinations with the tropes of fencing, creating an intensely sensual attitude with a hint of the perverse. It both compelled and challenged.

Along the way, Wang worked both aggressive and gentle elements, as well as weight and transparency. A key item: the plastron, integrated into a linear silhou-ette, exaggerated with monster platform sandals (thick and high), and worn with spats of varying height. The long line was inspired by Giacometti — at least that was the sound-bite spiel. Really, the compelling silhouette came, she said, “in reaction to seeing a lot of minis and a lot of more obvious silhouettes.”

Nothing obvious here. Wang paired the protective fencing plastron to floor-sweep-ing, open-to-there kilts, shown by day over shirts and by night, over bare skin, the shield’s leather straps taking a tough turn with sexy. The palette, sober shades of olive, dark gold and khaki, in addition to black, harkened to another artful source: Modigliani.

The intentional heft of materials that appeared first in the wool kilts found alter-native expression in thick, multicolored furs, including a pair of long vests worn as dresses. Wang then pulled a provocative 180 on the texture front while maintaining the darkly evocative mood. The aforemen-tioned florals blossomed as long, light-as-air robes over lighter chiffon aprons and trousers, while see-through tulle dresses in blocks of somber shades worked the Goth side of sheer over microscopic black wool bras. On the more heavenly front: whisper-delicate nude tulle gowns with panels of geometric sequined embroidery. Both were exquisite and, assuming proper underpinnings in place, cried out for Oscar attention. — B.F.

Vera WangTory Burch

motif with deft skill, her silhouettes making clear, but not excessive, reference. And to keep it all fresh, she wove in equestrian elements for a smart collection that evoked jet-set days without cliché.

Burch has a particular knack for channeling her natural deco-rative impulses into practical, unfussy clothes. She opened boldly with a mul-ticolor coat in geometric patterns taken from jockey silks; the oversize diamond would prove a recurring motif. The graphics continued in good-looking, clean pieces: peacoat; slick eel-skin skirt

paired to white shirt with mismatched color-blocked sleeves; racy jacket over track jacket and white jodhpurs. (The jacket was one of several Tory Sport

pieces available immedi-ately at retail.)Lest the structured graphics

overwhelm, Burch pulled back on the pattern for versatile outerwear,

including a jacquard trench worn over a slightly longer chain-print silk dress to lovely effect. She went otherwise soft with fluid dresses and a fabulous diamond-pat-tern evening gown that wore its glamour with a young, casual attitude. — B.F.

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that has all the bells and whistles. “I per-sonally wanted that one,” Wainwright said. — Jessica Iredale and Alex Badia

Dennis BassoDennis Basso went wild with his fall fur collection. But not before he took a more subdued approach with a lippi cat flared coat over a lace and silk dress and a black lace dress, hugged by a wide crocodile corset.

The designer then followed his more flamboyant instincts with what he calls, “untamed boho elegance,” marrying black ermine and iridescent feathers in a sable-edged cape — the most elegant, if not the flashiest of the mixes. He also combined chinchilla, sable and fox in an easy wrap overcoat. “I feel this mix is an evolution,” he said. “By working with furs in an unorthodox way, they become more modern.”

Basso may be best known as a fur designer, but he’s moved effortlessly over the past few years into evenin-gwear — often shown under his furs or given equal emphasis when worn solo. For instance, floaty or lean gowns in hand-embroidered gold lace, Cham-pagne tulle or gold-embroidered damask all stood beautifully on their own. Basso took the dazzle down a pitch with stark and slender knee-length dresses in panne velvet or lace and the unfettered look of an ivory charmeuse jumpsuit — dressed up, of course, under a lavish lynx wrap. — Bobbi Queen

and English tailoring brought it home for Rag & Bone. The styling was carefully contrived to be casual and unaffected, even though those are conflicting ideas. Yet it worked.

One of the best looks was Binx Walton in a short, beige shearling jacket that brought to mind a Patagonia fleece over a red-and-black micro-check wool shirttail skirt and leather pants. Straight-leg, indigo Japanese selvage denim jeans with a trompe l’oeil cuff was the right direction for the label’s denim state-ment. The plethora of track pants with white stripes made the streetwear point, if in a rather obvious way. But for some reason, the tracksuit effect felt less on the nose on a shiny fleece moto hoodie over a windowpane-check wool skirt.

The men’s collection was shown at the same time as the women’s in a setup that was essentially two simultaneous, separate runway shows, as the women filed down one side of the runway and the men on the other. They weren’t mir-ror images, but close enough.

The men’s focus was denim, military references, Harris tweeds — “bonded things,” as Wainwright said — and tai-loring. The new denim was a highlight, specifically, a carrot-shaped jean and a trucker jacket in a rigid selvedge denim.

Wainwright and Neville branched into new territory with the label’s first true suit, a slim-fit model in Loro Piana fab-rics — burgundy or green — with hand-pick stitching. In addition to moto-in-spired T-shirts and pants with articulated knees, they dabbled in performancewear for the first time with a technical jacket

Zac Posen Zac Posen has always favored a strong woman. One need only look at his front rows — Katie Holmes, Jennifer Hudson. Lucy Liu and Debi Mazar were in atten-dance Monday night — to know that. The collection he showed for fall was based on one specific powerful woman: Ugan-dan Princess Elizabeth of Toro, the first East-African female to be admitted the English bar. She was also a model who appeared on the covers of top fashion magazines in the late Sixties.

Posen celebrated all aspects of her remarkable life, offering his take on traditional tribal batik wear in a series of appealing dresses in navy, burgundy and green floral prints based on a Forties bouclé that evolved to have an African-Japanese quality. He riffed on authentic tribal-wrap silhouettes but spliced them with his signature swing to create a modern feel.

The challenge, Posen said backstage before the show, was to take some of his silk bias cuts and apply them to cotton — a fabric he felt his customer would want when the collection hits sales floors. The dresses, done in a variety of lengths, featured tuck-and-fold details as well as a drapy, one-shoulder cape motif used throughout the collection.

The princess’s life in England was explored through a double-faced cashmere group, which mirrored the color scheme of the floral dresses. Its tone was austere and simple, save for a navy-blue beaded Nehru-collar tunic jacket; puffed-sleeve waist jackets worn

with cropped trousers, and Edwardian detailing on a full-length coat and long sweeping cape that spotlighted Posen’s tailoring skills. Floor-length wool col-umn dresses with long sleeves melded both the African and English sides of her life.

The collection, while a departure for Posen, showcased his strengths in a way that was novel but not costumey. Prin-cess Elizabeth of Toro was a bit of an “It” girl in her heyday, and the exotic flair of his dresses should resonate with those who aspire to that status today. — Roxanne Robinson

Rag & BoneA raw industrial space set with slick lighting; a stirring live percussionist performance by Mauro Refosco and Joey Waronker from Atoms for Peace; the scent of free truffle popcorn in the air. David Neville and Marcus Wainwright conveyed the atmosphere and energy they were after with their fall show: branded, glossy downtown grit with a fast “f--k you attitude,” as Wainwright called it backstage before the show.

It’s imperative to a brand positioned like Rag & Bone, as offering elevated accessibility, to sample current trends, remix them in the label’s language and push forward a degree or two — but not too much. In that respect, Neville and Wainwright know their roles. The look they presented for fall appropriated skate/street athletic wear, moto racing, and fashionably rugged outdoorsy-ness, while a focus on cool, straight-leg denim

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Zero + Maria CornejoMaria Cornejo cited nature — and the freedom she feels being outdoors — as a source for her fall Zero + Maria Cornejo collection. And indeed it was a particularly earthy lineup. “I use lots of cotton and prefer transitional, seasonless clothes and fabrics,” said the designer, whose natural instincts seem global: belted obi coats and leather kimonos, and blanket dresses with a Native American or Berber feel, for example.

Even with all the easy shapes, split-level proportions and layering, Cornejo kept a light hand. That touch was evi-dent in her slender skirts wrapped over pants or jumpsuits and a plush shear-ling shrug worn over a long, wrap skirt. Among her many relaxed, ankle-grazing dresses, the pale pink silk crepe version shown with a matching alpaca and wool long robe coat was the loveliest.

Once again, Cornejo managed to make even her simplest silhouettes interesting, whether via inventive cutting and drap-ing, rich texture and color combina-tions, or just because her clothes never look like anyone else’s. — Bobbi Queen

Coach 1941The Megabus stop on 34th Street on the way to Coach’s fall runway show heralds cities as far afield as Cleveland, Hartford and Baltimore — just the type of places Stuart Vevers had in mind when

designing Coach 1941. “It’s like an American quilt,” he said backstage after the show. “These different inspirations are more than the sum of their parts. I like taking things apart and putting them back together again.”

This season a basketball court, presumably like one found in every American high school, was the stage for a tough, yet sweetly nostalgic Coach lineup. Vevers’ biggest focus was the varsity jacket, which he reimag-ined in oversize and cropped versions — gussying them up with sport-inspired logos and Coach insignias. These were worn over A-line miniskirts in tapestry prints, felted woolens that coordinated with the jackets, or leather and suede. But a girl doesn’t live on varsity jack-ets alone, so Vevers offered outerwear options aplenty: parkas, trenches, fur vests, shearlings, navy peacoats and leather bikers.

Vevers loves a good quilting motif, and he worked it on the leather biker and interspersed it into an oversize patchwork shearling coat. A navy wool group with the collection’s sole trousers picked up on another aspect of Americana, the military, while ruffled plaid shirts and multiprint dresses added a sweet side. A leather duffel dangling with charms was the main bag of the season and Vevers grounded the entire look with metallic midcalf boots and studded wedge loafers — because being cool in high school means scoring fashion points off the field, too. — Roxanne Robinson

Rodarte Kate and Laura Mulleavy adhered to the standard they’ve established for Rodarte in recent seasons for fall. The collection was predictably uneven, scat-tered with moments of genuine beauty and mishaps, too. This time the balance fell in favor of the good stuff.

The Mulleavys wanted to tell a San Francisco story. They attended the University of California, Berkeley, and recently revisited their old stomping grounds, including Caffe Trieste. “They have these pictures on the wall of Fran-cis Ford Coppola. I think he worked a lot on ‘The Godfather’ there,” said Laura backstage. The Corleones celebrated a couple of weddings (and funerals), the brides covered in white lace, which the duo used amply in the collection. One white, knee-length lace dress with tiered, pouf sleeves and an asymmetrical tiered hem was worn with a veil. But the lineup wasn’t a Coppola tribute; it was an ode to Art Nouveau romance inspired by music posters and the genre’s crafty, gypsy-nymph decoration and witchy fantasy.

Slim, tea-length dresses sectioned into collagelike panels of hand-beaded and hand-painted guipure lace with floral and bird accents were dreamy examples of the designers’ imaginative evenin-gwear with a homespun touch. Perhaps taking a cue from Scott McKenzie, these San Francisco nouveau fairies were sure to wear flowers in their hair. Other pretty dresses featured a single sleeve with bodices and skirts traced in pink,

black and burgundy or pink ruffles.The daydream was interrupted, how-

ever, by clunky ruffled leather pieces ( jackets, belts, gloves); garishly colored long-haired goat jackets, and weird boots that stretched up the calf in cutouts and brown ruffles. Many of the fabrics fell short of the quality needed to pull off the look. In the end, this San Francisco story was a tale of two cities. — Jessica Iredale

Vivienne TamVivienne Tam took an imaginative trip along the Silk Road for fall. Along the way she collected a range of inspira-tions, mixing and matching them in her eclectic collection. From references to Turkish carpets and Indian decor to tributes to Chinese iconography and Japan textiles, the lineup was infused with a charming exotic vibe tempered by clean silhouettes.

She topped a shimmering plissé Lurex skirt trimmed in lace with a sweater embellished with graphic leather appliqués that had a tribal feel, and paired urban suede culottes with a pretty jacket worked in an opulent silver-and-gold jacquard fabric echoing Central Asian traditional costumes. There were also chic kimonolike jackets, and an array of maxidress with a folk-loric touch.

Walking on the maximalistic wild side, Tam succeeded in finding a balance between free-spirited eccentricity and modern, metropolitan elegance. — Alessandra Turra

Zero + Maria Cornejo

Coach 1941

Rodarte

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important than to give them $200,000 to help them pay their bills. For a relatively small amount of money from the city, we can open them up to the world.

“This is part of our approach of tackling the entire fashion ecosystem in New York. We’re trying to take a look at the industry from the smallest designer and educa-tional institution to all the work we’re doing with the CFDA and the large-scale designers. To grow the industry, particu-larly on the manufacturing side, is a huge priority for us.”

Glen also offered an update on the suite of new Made in NY fashion initiatives that tripled the city’s overall investment in the local fashion economy to $15 million since it was unveiled a year ago.

Over the past 12 months, Made in NY has connected emerging businesses with more than 75 industry mentors, showcasing over 150 local fashion brands to an estimated 650 million people, generating nearly $500,000 in sales for New York City-based established and emerging designers, and awarding more than $4.5 million in financing and prizes to emerging and small businesses.

Last week, the New York City Economic Development Corporation and the Council of Fashion Designers of America revealed the third round of winners of the Fashion Manufacturing Initiative, a $6 million public-private partnership designed to support the city’s fashion manufacturing businesses.

“People in New York always think about fashion either in a nostalgic way or in a glamorous way, but when you peel away the onion, it’s really a fundamental part of our economy,” Glen said. “We have almost

1,000 fashion companies here and almost 200,000 people work in this industry….When I see an industry that has $11 billion in wages, that results in $2 billion in tax revenue, that’s an industry that not only needs attention, but at the end of the day it’s impacting our bottom line.”

Among the other programs in the last year, the NYCEDC highlighted the Made in NY expansion to the fashion community through a citywide, consumer-focused and awareness-building campaign showcasing nine local fashion brands, including Prabal Gurung, Rosie Assoulin, Alexis Bittar, Chromat and Public School.

In partnership with Barneys New York, the CFDA and NYCEDC unveiled the Made in New York Collection. The limited-edi-tion pieces were produced entirely within the city and designed by seven New York-based brands, including Thom Browne, Narciso Rodriguez and The Row. The collection is being sold in 18 Barneys stores nationwide through May.

In December, NYCEDC partnered with Not Just A Label and the Waldorf Astoria hotel to create a temporary retail space featuring a rotating collection of over 1,000 locally designed and produced apparel, jew-elry and accessories items. More than 100 emerging designers participated in the retail pop-up, which attracted 1,500 visitors.

The Fashion Production Fund awarded 24 loans totaling over $1.5 million in financing in the last 12 months. To date, the fund has provided 30 loans totaling $2.5 million at below-interest rates to emerging New York designers to manufac-ture locally.

Glen said the next big issue is to develop a broad, scalable solution linking manufac-turing and showroom, what she called a “place-based approach to where the indus-try is going and not where it was.”

“The mayor and I are really pleased to see the progress to date and there’s going to be a lot more to come,” she added.

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Made in NY Makes Moves for GrowthCONTINUED FROM PAGE 1

“People in New York always think about fashion either in a nostalgic way or in a glamorous way, but when you peel away the onion, it’s really a fundamental part of our economy.” — ALICIA GLEN, NEW YORK DEPUTY MAYOR

Making the Cut¬ Linda Wells has made a swift comeback to the beauty world.

Wells, who founded Allure mag-azine in 1991, is joining New York’s The Cut as beauty editor at large.

The editor’s return to journalism comes less than four months after she was dismissed by Allure’s parent company Condé Nast in November. Wells was replaced by Nylon’s Michelle Lee, who recently cleaned house at the beauty title and named her new team.

Rumors of Wells’ reentry into the media landscape had been bubbling since she left Allure. The editor’s new gig is said to be one of many things she has in the works. Although she did not address other projects, Wells offered: “I’m eager for the adrenalin rush of writing and commenting quickly on beauty, fashion, fitness, diet, wellness and whatever else pops in my head.”

According to New York, Wells will write for The Cut, its fashion and beauty site, on a weekly basis. Topics will range from beauty and fashion to wellness and health, and her first item will go up this week.

Wells joins The Cut’s beauty team, which includes senior beauty editor Kathleen Hou and associate beauty editor

Ashley Weatherford.The Cut’s editorial director

Stella Bugbee said Wells is allowed to write for other places in her role, and that her desire to check into the office is up to her. Bugbee added that Wells may appear in videos in the future.

Bugbee said of Wells: “We’ve long admired her wit, style and her ability to get at exactly what readers want to know about. I can’t wait for her to bring her sharp, funny takes on everything from eyeliner to outdated beauty standards and

which runway trends matter.”“I grew up reading her,” Bugbee

told WWD. “She has real perspec-tive and authority.”

The editorial director noted that she hadn’t had a prior relationship with Wells, that she “just e-mailed” her when she learned of her departure from Allure, asking if she’d write for The Cut.

This isn’t the first time Bugbee has tapped a well-known jour-nalist as an editor at large. Last January she added former New York Times lead fashion critic Cathy Horyn to The Cut’s stable of writers.

Although she wouldn’t go into details, Bugbee noted that Wells’ deal differs from Horyn’s work as critic at large, noting that Wells is writing on a weekly basis. — ALEXANDRA STEIGRAD

First Time¬ Is Kendall Jenner getting her first cover of American Vogue?

Sources told WWD that Jenner took a break from stalking the run-ways of New York Fashion Week to be shot for the magazine’s June cover earlier this week. The cover shoot included a video to go with the story, which would be posted in tandem on Vogue.com when the issue comes out in early May.

“We aren’t going to comment beyond the fact that we never comment on rumors of future editorial,” a spokeswoman from Vogue said.

It is believed that Jenner was accompanied by sister Kim Kardashian and her daughter North West. Insiders pointed to Kardashian’s Instagram, which on Monday posted a video of North covered in a fur coat. Reclining in a chair, North, who sports Uggs, proclaims, “No pictures,” before the camera cuts quickly to Jenner.

The brief shot of Jenner shows the model and reality star in clothing samples said to be featured in the Vogue shoot. On her own Instagram, Jenner posted a mysterious photo from the inside of an elevator with the caption: “Bodyguard chic.” Sources surmised that the shoot took place at Milk Studios in New York’s Meatpacking District.

Booking the cover of U.S. Vogue would be a first for Jenner. Aside from sister Kim and brother-in-law Kanye West, who fronted the title’s April 2014 cover to much controversy, Jenner would be the only Kardashian-Jenner family member to nab the coveted spot.

If American Vogue does put Jenner on the cover, it would be playing catch-up. Last year Jenner appeared on the covers of several of the fashion glossy’s international editions, including Vogue Japan, Paris and Brazil. In the U.S., she appeared on the March cover of Allure, the March subscriber cover of Harper’s Bazaar and on the May cover of GQ. She was also featured in a group shot with her sisters and mother on Cosmopolitan’s November cover.

Currently, Jenner can be seen on W Korea’s March cover, which was shot by Inez & Vinoodh. She was also recently featured in an editorial spread in the pages of Love Magazine’s spring issue. — A.S.

The Vice of Chanel¬ Vice Media has signed a multi-year deal with Chanel Fragrance for a slate of sponsored videos and original editorial content.

According to the Brook-lyn-based media company, the video content will launch on its fashion channel, i-D, at some point this year.

Although few details were made available, the content will explore “female creativity and self-expression through collabo-rations with remarkable women,” Vice said. The sponsored series will feature a range of creative women, not Chanel employees, it is understood.

Through the London-headquar-tered i-D, Vice has made a play for lucrative luxury advertisers, most of which are looking to reach

the Millennial audience. In order to facilitate this, Vice launched Amuse, i-D’s video channel, last year.

At the time, i-D managing direc-tor Richard Martin said: “The lux-ury market hasn’t yet adapted to the new breed of digital-by-default consumers that has emerged in recent years. Amuse offers luxury in their own language and codes, through an interactive and beautifully designed platform that tells global stories.”

Vice, which purchased i-D in December 2012, has started investing more heavily in the

fashion site, expanding into Asia and Europe and slowly building its team in New York. In Septem-ber, it launched i-D France and indicated that it would cover Paris Fashion Week as well as the designers and brands whose ateliers are based in the French capital.

Original content for the Chanel Fragrance deal will be created by Vice and housed on i-D.co, as well as distributed across Vice’s network of channels.

The company said the partner-ship was facilitated by PLUS at WPP. — A.S.

Memo Pad

Linda Wells

Kendall Jenner on the cover of Vogue Paris Oct. issue.

17 FEBRUARY 2016 11

● The department store onThursday will open twostores in Toronto, including a16 ,000-square-foot flagship.

BY SHARON EDELSON WITH CONTRIBUTIONS FROM CONSTANCE DROGANES

Oh, Canada!A land of 36 million people with a per

capita income of $50,000, Canada is viewed as a fertile shopping ground, with retailers such as Nordstrom and Saks Fifth Avenue descending on the country.

The latter’s arrival is set for Thursday, with a 165,000-square-foot flagship bowing at CF Toronto Eaton Town Centre, the first store the retailer has opened outside the U.S. since 2008, to be followed by a second Saks unit at CF Sherway Gardens, also in Toronto, on Feb. 25.

Both stores will be models of Saks’ new philosophy, with merchandising innova-tions and service initiatives to be replicated at upcoming stores at Brookfield Place in Lower Manhattan and Brickell City Centre in Miami. “What’s really exciting is that we’re opening a flagship as we’re invigorating the brand,” said Marc Metrick, president of Saks Fifth Avenue. “We’re looking at Saks in a very modern and approachable way.”

As for the matter of national pride, Saks parent Hudson’s Bay Co. has a 350-year history in Canada to uphold. “We have the advantage operating in Canada as long as we have,” Metrick said.

Nevertheless, the luxury field in Canada is getting increasingly crowded. Nordstrom, which opened three full-line stores in Cal-gary, Ottawa and Vancouver, has three units opening in Toronto in the fall at Eaton Town Centre, Sherwood Gardens and Yorkdale Centre. And the Seattle-based retailer on Tuesday revealed that it will open a Nord-strom Rack at One Bloor in Toronto in 2018.

Holt Renfrew, Canada’s de facto luxury destination, decided to step up its game in light of the U.S. competition with a series of expansions and renovations, includ-ing enlarging its Bloor Street flagship and opening its first men’s-only store. Overall the retailer plans to grow square footage by more than 40 percent.

Target’s failed Canada expedition — the retailer exited its short-lived, money-los-ing business in 2015 — underscored the complexity of a country that seems so much like the U.S. that it’s humorously referred to as the 52nd state. But it’s actually nothing of the sort and rather a series of unique markets with different style preferences and shopping habits.

“Canada, for so many reasons, makes abundant sense,” Metrick said. “We were really missing in Canada. As a long-time Saks executive, I thought it was something we needed to do. Toronto is the fourth-largest city in North America.”

The retailer is starting out with the advan-tage of having 70,000 Saks Fifth Avenue credit card holders living in Canada; the country is the second-largest shipping desti-nation for saks.com.

“When you go back to the Saks acquisition [by HBC] in 2013, one of the key elements of the deal was to expand Saks into Canada,” Metrick said. “It was an untapped market

and a brand with a tremendous amount of [recognition]. We feel like there’s space there to go into that zone.”

Metrick compared Toronto to Boston, not-ing that there are eight luxury retailers in the Massachusetts city, which has a population of 4.5 million. “The greater Toronto area has 5.5 million people,” he said. “It’s serviced by three Holt Renfrew stores. From an overall size, there’s actually room. By no means is it saturated. We’re going in at the right time.”

Saks plans to open five stores in Canada but Metrick left the door open for additional units. “We’re looking at this opportunis-tically,” he said, “from a real estate and market positioning standpoint.”

As for positioning the new stores, “we’re not looking at this as a Canadian Saks or an American Saks,” Metrick said. “These are our Toronto locations. The customers are sophisticated and avant-garde and they definitely like designers. They’re looking for something very special in terms of ready-to-wear and footwear. Fine jewelry is a big opportunity, with brands such as Pomellato Piaget, Marco Bicego and H.Stern. People associate Canada with furs. We’ll have furs in Canada and we’re expecting big things for that business.”

Metrick declined to discuss sales volume, saying only, “Both stores are positioned to do very well in terms of productivity.”

Design elements at the Eaton Town Centre flagship were inspired by the Canadian wilderness and harsh weather. On the first level, floor to ceiling glass-and-bronze panels of waves in lakes and rivers depict the coun-try’s rugged landscape. A ceiling sculpture on the second floor was made from 8,000 pounds of hand-blown Czechoslovakian glass, while bronze sculptures of trees are part of the store design by FRCH Design Worldwide and Saks’ store design and plan-ning team.

Both units will incorporate some “greatest hits” from the Fifth Avenue flagship, such as a 10022-SHOE salon; the flagship will have 1,000 pairs on display, with 15,000 pairs in the storage room.

Dior, Valentino, Louis Vuitton, Saint Laurent, Chloé, Céline, Prada, Alexander McQueen, Stella McCartney, Givenchy and Azzedine Alaïa will be part of the mix. “We wanted an A-plus matrix that will travel,” Metrick said. “Everything, from the core elements, the experience, the assortment and the edit has got to be localized for the consumer. Nothing is going to be cookie cutter.”

“The team really came together to create the true Saks edit for our Toronto customer,” said Tracy Margolies, chief merchant at Saks. “You’ll see new and emerging brands, exclusives and a differentiated edit of our core resources.”

There are shops-in-shop for leather goods on the main floor and what Metrick referred to as “softer icon shops inside ready-to-wear” — in other words, the emphasis will be on Saks, not designers’ in-store shops. “There definitely will be a signed positioning for brands, but it’s a new concept for us,” Metrick said. “We want the consumer to feel she can shop across brands. We want to be more modern. We’re creating a truer shopping experience.”

Saks also tinkered with the men’s area. “We’ve changed flow and adjacencies to be much more lifestyle-oriented and we’re featuring footwear just like we’ve done with women’s shoes,” Metrick said. “Men are the new women. They’re shopping and they’re [buying] fashion.”

Beauty is getting a makeover, too, with lower sight lines and more of an open-sell environment. Every cosmetics station will be staffed with makeup artists and on-the-go facials will be offered along with fragrance personalization.

On the second floor are plush, person-alized private shopping areas for men and women. The women’s area also offers a massage room — a first for a Saks store.

Metrick wants the stores to be “more than just a place to buy things,” so he’s installed Saks Food Halls by Pusateri’s, measuring 25,000 square feet at Eaton Centre and 18,500 square feet at Sherway Gardens. Each store will have its own concepts by Oliver & Bonacini. “Food is a big component,” Metrick said. “It’s all part of the new way we approach our environment. We want [shoppers] to come and spend time at Saks, not just shop.

“Today, consumers can shop anywhere,” Metrick said. “But luxury shopping isn’t just about price. Wherever you move in this store, we wanted to encourage the feeling that shopping should be a fun, social expe-rience. We want to do everything we can to build on this spirit and make Saks accessible to any shopper who loves beautiful things.”

The Eaton Centre Saks is opening in a space that was carved out of the massive Hudson’s Bay store, which now has about 600,000 square feet of space. The two stores will be entered through a common lobby entrance — “like a hotel, but not intimidating,” Metrick said. “From an HBC perspective, you’ll be able to buy Louis Vuitton [at Saks] to a Nespresso machine [at Hudson’s Bay]. The whole end of that shopping center will be the most powerful and differentiated. Hudson’s Bay will see the footfall increase and vice versa for Saks.”

RETAIL

Saks’ Canadian Coming Out Party

The CF Eaton Town Centre flagship in Toronto.

Saks' first Canadian store has a version of the 10022SHOE salon concept that originated in the Fifth Avenue flagship.

Marc Metrick, president of Saks Fifth Avenue.

A view of the flagship’s main floor, lit by a shower of 8,000

hand-blown glass bulbs, and the second floor

ready-to-wear area.

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Vendors are busy plotting a comeback for shapewear at the CurveNY trade show, which starts Sunday at the Jacob K. Javits Center.

While overall women’s shapewear sales have generally been seen on the wane, brands at the three-day trade show are look-ing to build momentum by offering retailers reenergized assortments and new styles.

“As a category, shapewear has experi-enced a tough period of readjustment after a burst of new product flooded the market, which led to a glut,” said Susan Malinowski, vice president of marketing at Wacoal. “Now the category is poised for new healthy growth and we are ready for it.”

At Curve, Wacoal will introduce Zoned 4 Shape, a five-piece shapewear collection that features innovative knitted fabrications with four seamless shaping zones. Accord-ing to Malinowski, the pieces combine lightness, comfort and performance.

The brand will also launch its Visual Effects bodysuit, camisole and all-in-one, which all have moderate to firm control. Each piece pairs with Wacoal’s new mini-mizing bra.

Comfort is a key marketing message for Heather Thomson’s brand Yummie by Heather Thomson, which was origi-nally named Yummie Tummie. Thomson launched her shapewear-focused line in 2008 when the category was hot and said she’s been able to maintain sales and thrive by providing shoppers with shapewear they want to wear instead of shapewear they think they have to wear.

“Our business continues to see healthy growth in a category that’s down-trending,” said Thomson. “While everyone else was focusing on occasion-based pieces that were geared to ‘suck you in,’ we brought shapewear out of the closet and offered comfortable pieces for everyday wear.”

Thomson told WWD that shapewear sales have remained steady, but she’s seen growth in her nonshaping items such as ready-to-wear. At CurveNY, the brand will showcase intimates and more loungewear, which Thomson said is an important category as its holiday sales were up 9 percent.

While other shapewear brands target comfort with seamless and light control options, Eric Crawford, national sales man-ager at shapewear company TC Intimates, said his brand hasn’t ventured into those categories and is instead further developing its cut-and-sew pieces that are known for their firm control and compression.

Crawford also noted that TC Intimates has worked to elevate its brand image over the past two years by injecting new fabrics and paring down silhouettes so they create less bulk. “We’ve tried to clean up our appearance and simplify our message to the consumer,” said Crawford, who added that the company has experienced growth.

For CurveNY, the brand will continue to present its patented Black Magic technol-ogy that offers high levels of compression without using multiple layers of fabric that can create bulk and get hot during warmer months.

Crawford said he’s also seeing

strong performance with TC Intimate’s waist-cinchers, a corsetry-inspired type of shapewear that’s gained favor with curvy women on Instagram, including the Kardashians.

The waist trainer-cincher category is also a bright spot for Leonisa, a Colombia-based intimate apparel brand that entered the U.S. market 10 years ago. According to Octavio Quintana, Leonisa’s vice president of North America, women are wearing the piece under their clothes and while they work out.

Leonisa, which Quintana said had its best year ever in 2015 with a 30 percent sales increase, offers men’s and women’s shapewear, activewear and swimwear that’s integrated with four levels of control (supercomfy, moderate, firm and extra firm control) and made from trademarked materials.

The brand — which lends a dose of sexy to even its postpartum panties with an adjustable belly wrap or its back support control tanks — will launch its 60-year anni-versary limited-edition collection and its first premium swim collection and plus-size line at CurveNY.

Triumph, a Switzerland-based lingerie brand that’s been pushing into the U.S. market, saw declining shapewear sales until it started to offer sexy lingerie that was integrated with shaping, said John Gorman, the general manager of Triumph U.S.

“I’ve heard that shapewear is soft over-all, but our shapewear sales continue to increase very rapidly,” said Gorman.

Triumph’s best-selling shapewear are its shaping panties and body styles that are made with lace, sheer panels and under-wire cups so the pieces can second as lingerie.

“We provide shapewear. This is not the same as selling garments that squash her to appear smaller and shaped in an uneven manner,” said Gorman. “Triumph shape-wear alters your shape to be more the way you want it to be.”

Leonisa’s polyamide and elastane bra and romper (right); TC Fine Intimates’ nylon and spandex bodysuit (below).

THE MARKETS

Brands Prep For CurveNY● Ahead of the trade show, intimate apparel brands

are focused on reviving the once-booming shapewear category with designs that are less restrictive and more visually appealing.

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Not even three years after the success that is New York SoHo’s Charlie Bird, the team behind the modern Italian spot is expanding. Their new venture, a wood-oven anchored restaurant on Mulberry Street called Pasquale Jones — a name chosen simply for its fun — opens Tuesday to much anticipation. In the week before open-ing, the spot already played host to a number of private dinners, including one thrown by Jo Malone and Paul Andrew. But owners Grant Reynolds, Robert Bohr and Ryan Hardy didn’t expand their lower Manhattan breadth to fulfill the wide-reaching demand from their clien-tele. Instead, the desire came from wanting to serve within.

“Mostly because we have a great young team,” says Hardy, who is the executive chef (the chef of Pasquale Jones will be Tim Caspare), of

the timing for restaurant two. “And in order to keep talent you want to create new challenges for them. When you have a lot of young talent you have the opportunity to provide challenges for them to grow into.”

Reynolds echoes that statement. “We’re at almost year three here at Charlie Bird and the opportunity came up to do something in a neigh-borhood that’s close by and within walking distance and we have been lucky to have a lot of great people that we work with and it’s good to give those people the opportunity to grow and do different things.”

Charlie Bird is known for its wine selection and that will carry over to Pasquale Jones. “We don’t have a specific ap-proach — meaning that it’s not an Italian focused list or a natural wine list,” Reynolds says. “We kind of give ourselves the freedom to do whatever

Pasquale Jones Opens on Mulberry Street The team behind SoHo’s beloved Charlie Bird expands with a wood-oven Italian eatery.

Counter TopAnne-Valérie Hash’s contract as creative director of Comptoir des Cotonniers isn’t being renewed, WWD has learned. The brand, controlled by Japanese retail giant Fast Retailing Co. Ltd., confirmed Hash’s contract is to end on May 31. “The company and Anne-Valérie Hash jointly decided not to renew her contract beyond this date,” a spokeswoman for Fast Retailing said.

It’s understood her successor has yet to be named. “The current design team is to ensure the collection,” the spokeswoman noted.

Hash’s first collection for Comptoir des Cotonniers was for the fall 2015 season (she’s also behind the spring and fall 2016 collections.) Under her creative leadership, Charlotte Gains-bourg and her 13-year-old daughter Alice were tapped to appear in Comptoir des Cotonniers’ campaigns, as the French chain marked its 20th anniversary and highlighted its legacy of dressing mothers and daughters. The actress and her daughter wore the first two collections designed by Hash in campaigns photographed by Alasdair McLellan. They are also the faces of the brand’s first capsule collection with premium denim brand J Brand — another label of the Fast Retailing portfolio that includes Uniq-lo — due to hit stores on Feb. 24. Hash worked alongside J Brand’s head of design Mary Bruno on the project.

Hash shuttered her 13-year-old signature label in 2014 amid challeng-ing economic times for independent fashion companies. A graduate of the École de la Chambre Syndicale de la Couture Parisienne, Hash received France’s ANDAM Prize in 2003. — LAURE GUILBAULT

This and ThatIt was barely 11 a.m. on Tuesday morning and Kylie Jenner was

wearing a glitter-gold minidress, thigh-high platforms, gigantic sun-glasses and pink-tinged hair. Understated.

She was sitting front row at the Vera Wang show, her second fashion week appearance since Saturday’s Alexander Wang show. Fellow Wang Gang member Zoë Kravitz was fur-ther down the row; Hannah Davis was also nearby.

“This is my first and only show,” Davis said, glowing on a neighboring bench. “I was just backstage and this collection — I want everything in the collection and I’m not just saying that!”

Davis saved the one fashion week show she attended for her favorite designer. “I love that there’s always that feminine aspect to her collection, but it’s very rough and tough and very tomboy,” she said. “I just love that contrast, between boyish and really feminine. That’s sort of how I dress a lot of times.”

The Sports Illustrated Swimsuit model, who revealed her engagement to Derek Jeter in November, contin-ued that Wang’s designs echo her own personal style. “My day-to-day is very much like T-shirts, jeans, Rag & Bone jackets,” she said. “I love accesso-ries, coats and shoes. But when I get dressed up I like that balance between girly and boyish. Like having a really amazing dress but pairing it with combat boots or something really unexpected.” — LEIGH NORDSTROM Tory’s CrowdKate Bosworth, Karen Elson, Jaime King, Langley Fox Hemingway, Liya Kebede, Waris Ahluwalia and Liu Wen were among the front row guests at Tory Burch’s show Tuesday morning at David Geffen Hall at Lincoln Center.

“I’m a good friend of Tory’s. She’s awesome,” said Elson, who was

dressed head to toe in the designer’s clothes and accessories. She said stylist Tabitha Simmons is one of her best friends, “and she turned me onto Tory.” Elson, who lives in Nashville, said she just made a record “Double Roses,” which will be coming out later this year.

Bosworth, who was making the fashion rounds this week, said she has a new movie coming out, “Before I Wake,” which is a psychological thriller with Jacob Tremblay, the nine-year-old boy who stars in “The Room. “He’s the utmost professional. He’s been here before,” she said. Bosworth said that after Tory Burch’s show she was flying back to Los Angeles, where she and her husband are building a home. “It’s almost finished,” she said. “I will check in with my husband so I’m not the phantom wife.”

Meantime, Daniella Vitale, chief op-erating officer and senior executive vice president at Barneys New York Inc., said the retailer would be launch-ing Tory Burch Sport exclusively at its stores this spring. While the retailer doesn’t carry the Tory Burch appar-el or accessories collections, the majority of the Barneys flagships will have Tory Sport, which has been sold exclusively at Burch’s retail store at 257 Elizabeth Street and online so far.

Another Tory Sport store is expected to open next month in the Flatiron District. Burch had several Tory Sport pieces on the runway that were avail-able for immediate purchase. — LISA LOCKWOOD Street StyleForget Uber or Lyft — this New York Fashion Week Neiman Marcus fashion director Ken Downing has a more exclusive ride. He’s being driven around in Tesla Motor’s much-hyped Model X car, which is making its debut in public streets. He has invited sev-eral fashion industry friends to ride along with him — the car has seven seats, after all — and is filming their conversations for a series of videos. “Tesla Talks” will feature designers Wes Gordon, Prabal Gurung, Rachel Zoe, and Max Osterweis and Erin Beatty of Suno.

“I’m stopped by everyone inside and outside the Tesla X wanting to know where I got it, and how to get one,” Downing remarked. It’s hard to shy away from attention in an SUV with falcon wing doors. Unfortunately, much like the majority of the clothes being shown, Model X won’t be avail-able for purchase until later this year. — KRISTEN TAUER

BestiesIt was no surprise to see Kirsten Dunst sitting front row at the Rodarte show on Tuesday morning. The actress pretty much defines the concept of brand loyalist. “They tell such a unique story, there’s no one like them. Every time it’s a surprise,” she said of their aesthetic.

The actress has been a longtime friend and muse to the Mulleavy sisters, and soon she’ll add “collabo-rator” to that list. “We made a movie together this year,” she said, referring to “Woodshock,” the upcoming film the designers wrote and directed, which also stars Joe Cole and Rich-ard Linklater’s daughter, Lorelei.

“They’re two of my best friends,” Dunst said of the Mulleavys. “So it couldn’t have been better, to be honest.” — LEIGH NORDSTROM

Fashion Scoops

Tim Caspare and Ryan Hardy

Cauliflower with blood orange, mint and calabrian chili.

The interior of Pasquale Jones.

Jaime King and Kate Bosworth

we want, but we try to make a wine list that isn’t too big or too cluttered,” which resulted in 150 or so selections.

When it comes to the food, most dishes are done in their wood ovens. “Yes, we love cooking pizza and cooking pizza is part of what we do at Pasquale Jones. But there are so many other things that a wood oven can do that I don’t think are inherent to everyday type of cooking,” Hardy says.

The menu starts with salads and vegetables, “little simple bright crispy things that get your palette jumping,” says Hardy. “And then we move into pizza and pasta — dive in fully to the carbs!”

The selection is in-tentionally small and seasonally rotating. “We really love dried pasta a lot, we love to extoll the virtues of dried pasta,” Hardy says. Currently the menu features

spaghetti with anchovy and bergamot orange, sunchoke tortelloni with fonduta and brussels sprouts, and rigatoni done with sausage, net-tles and oven-smoked ricotta.

The Pasquale Jones pizza will be a “long fer-ment on the pizza which creates a very light, easy-to-digest pizza dough,” a technique the kitchen arrived at after trying many different methods. Their signature will be the littleneck clam pizza, which already “we seem to sell on every table.”

As fans of Charlie Bird know, music is hugely important to the team. “At Charlie Bird, we really took inspiration from what we call the golden era of hip-hop,” Hardy says. “Robert and I were both born in 1974, so when we were teenagers it was really important music. We were listening to things that, at the time, were

avant garde, that now are very classic New York music.”

If Pasquale Jones is getting to the root of Italian cuisine, then so is its music selection. “The name alone had a little flair, a little buzz to it,” Hardy says of the second restaurant. “And funk really came out of it — we took a step back and the roots of Italian food are pizza and sim-ply roasted food, and funk really was the root of hip-hop.”

The goal, like with the first go-around, is to do something difficult to capture. “A lot of people asked us what kind of restaurant Charlie Bird is, and the coined line we have is ‘a delicious one,’” Hardy says. “Why does everything have to fall into a neat little box? Restaurants are a cre-ative expression.” Pasquale Jones86 Kenmare StreetNew York, NY 10012 — LEIGH NORDSTROM

Kylie Jenner