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Example: Samantha Hahn.
For this special edition of Fashion Week, we’re asking successful women about how they manage their careers and lives during this difficult year.
Kathy Horin is one of the most respected fashion critics and journalists working today. After a good 16-year career TimesIn the year She joined Cut in 2015 to critical acclaim. Since then she has profiled various designers including Young. Marine greenhouse, Shane Oliver, Simon Rocha, Rachel Comey, WorthyAnd, most recently, Jonathan Anderson. In the year In 2018, she traveled to Germany to learn more about the ritual. Birkenstock. She got it Scap Raf Simons went to Prada and covered his movements Dior to the Calvin Klein. She took an industrial shot during her height Epidemic. And of course, during fashion month, she still shares her unfiltered opinions and sharp-minded insights on runway shows in New York, Milan and Paris. In such a surface-level industry, Horin’s no-nonsense approach stands out. Giorgio Armani and Hedi Slimane banned her from their shows after negative reviews. (She has recently been invited to attend Slimane’s shows. Celine.)
Although her more negative reviews caused a lot of waves, her writing is full of joy and fun, and many designers are eager to participate. She will take you with her on her. The back of a motorcycle As she happily rides around Paris. Her various pit stops at bars and restaurants, from Trimming to the Fanelli, often go into her reviews and help explain why she really likes (or doesn’t like) something. One of my favorite stories – there are many, including hers. Times Profile of Snooki – When you catch Thom Browne. Wiener-dog bag around fashion week. After all these seasons, Horin is curious, energetic and open to new ideas – and to Revising her opinion. When she’s not writing about fashion, she’s exercising. Green thumb On her little cut flower farm. Ahead of New York Fashion Week’s whirlwind, we called her at home to talk about how she manages it all.
In her article at Fashion Week:
If I’m writing, which I am most days, I get up around 4:30am. I stay at several hotels in Times Square. It’s not the best neighborhood, but I’ve learned over time that it’s surprisingly comfortable. I find a nearby coffee truck or go to an all-night restaurant and get oatmeal or a classic egg sandwich. Then I take that back to my hotel room and start writing about what I’ve seen – usually around three or four shows. If there is a 10:00 show that day, the goal must be done at 9:30. And I’m very efficient at doing that. It’s just a habit. If I miss something or if I still have a lot of writing to do, I’ll go back in between to finish it. But the opportunity to do that is very rare, so I try to do it. A lot happens on your phone while you’re in the car in Europe.
When dressing for a show:
I never thought about wearing it. hardly ever. Last season, I traveled for two weeks with a carry-on backpack, and I’m determined to do that again. I just don’t want to take too much. It’s a little stretchy but I don’t want to think about wearing it. It calms my mind. I just want to have something that’s tailored and looks sharp and is comfortable. Like a lot of writers and editors, I have like three pairs of black pants and a dress, and then a dress that I go out with if I want to go out. And I’ve got all the other labels that go along with that. It’s a boring uniform. But I always come home and I’m always surprised that I have two or three looks that I’ve never worn.
I’m more concerned about the hair, actually. I always have a standing hair appointment at Dessange in Saint Germain in Paris. Not every day, but I get my hair cut and blow-dried twice while I’m there. The same is true in New York. That’s higher than anyone else.
turning around;
In New York, I’m taking the subway more. It’s agile, and New York Fashion Week is brutal — it always has been — so it makes you more grounded in a way. Makes me think of Bill Cunningham. In Europe, I’ve had great drivers over the years. We are still friendly and exchange Christmas notes. I’ve had this driver for ages. Times. He’s Vanessa Friedman’s driver now, and I think he’s about to retire. But he’s a great cook, and when I’m on a deadline, he’ll bring me an apple tart or something from some amazing bakery – he knows the best ones in Paris. But in New York, you really feel yourself. That’s why I mentioned Bill Cunningham. I felt that Bill and I were comparable because we worked in Times But also because our approach was very similar: take yourself to the show and bring yourself back to the office. No fans.
On the importance of stopping for food or drink:
Sometimes it’s a reward; Sometimes it’s a way to reconnect with another human being. I remember going to Bernardin’s one night after the show – to sit at the bar, not for dinner – and how people looked dressed. Instead of the craziness of fashion week, you’ll see something that appeals to other people. A lot of food has turned its way into a fashion copy. The principle behind it is discovery as opposed to staying in your narrow hole. I love my colleagues, but sometimes it’s good to go out on your own.
When you go on stage after the show:
Once the event is over the PR will tell you exactly which exit or entrance to go back to because it can be confusing especially in a large venue. And then there’s usually a bit of press to keep the writers ahead of the well-wishers. Everyone gathers around, and there are maybe 15 or 20 people. Sometimes the backstage questions are technical: What was that material? How did you build that? Everyone is hearing the same thing, so they all think the recording will end up sounding the same. But I think it’s up to the author to check what you want. I love talking to Demna because he means what he says but doesn’t seem rehearsed or canned. It’s fun to ask questions. He is very funny and laughs a lot. I’ll come back with my interpretation and get back to him and see how he responds. With Marc Jacobs, he’s done collections that I refer to extensively because I’m sometimes curious about what he’s talking about. And sometimes, like when Carroll Armitage does a show, he’s so clear about what he’s about and so open to interpretation that I don’t have to talk to him, which is great. And then you have designers like Margiela who never speak to you. You had to interpret what you saw; It was food for thought. And in some ways, that’s fun too.
One of the greatest backstage is with Miuccia Prada. But this was before the plague and before Raf Simons. When I covered her up TimesAt the old Prada headquarters, you go into the back room and there’s a little passageway to get to her, and sometimes she stands in it. And she will be very funny, she will talk about feminism or whatever she wants to talk about. But those moments are so hot to me, and someone like Muccia can make it feel so spontaneous. I’m so glad I got all those opportunities to see her.
Keeping the copy fresh:
There is one thing I knew when I was in Washington. Paste In the early 90s, every few years, you have to change the way you do things or the way you write about something. You must improve your style. In the past, it can be more conversation. It could be funnier. You can wing it more with less energy, less heat, less risk. And then I got into something different, which was being more expressive, more transparent, especially in the early years. Times. And I go through periods where I’m more interested in historical context and perspective on where we are in fashion today. It dictates the pace of change. Whatever that speed is, it should be reflected in your copy to some degree. It is a reflection of the times. But you have to find some way to keep yourself interested and charged.
Getting feedback from designers:
It’s fun because you read and think about reviews. A couple yell at me, but they get anything out of their system and then everything is friendly again. I’m thinking specifically of Donatella Versace – that was years ago. She did a show in New York and it was packed with celebrities and it was a little small. I scoffed at the whole thing and then she called me, just livid. But she and I have always been pretty friendly, and I think she saw her the next season and everything was fine. She just blew off steam, and that was that. But I always took notes from Karl Lagerfeld. Not for every set, but he would comment or say, “Thanks for this,” or “I found that very interesting.” Demna texts often – he’s a text man. Michael Kor always writes a note two weeks after the show. If it’s a good review, he sometimes sends flowers, but he always leaves you a note, and I really appreciate that he takes the time to do that. There’s always some kind of feedback, but it’s usually directly from the designers.
I also updated my comment. What comes to mind is Stefano Pilati’s first Saint Laurent collection. I just didn’t get it, and I thought it was too feminine and too edgy for Saint Laurent’s history. But I thought about it and after three months I wrote a review again. I’ve done that a couple of times, and I love making those pieces. It’s interesting to think again.
How to survive a fashion month marathon:
The marathon was three weeks, but the pace was very different. You will have time to go out for lunch. We meet friends for dinner or go shopping, and I always thought that was important. I have often written about great shops I have visited – like a report, as if I were writing a letter from Milan or Paris. Going to the Villa d’Este on Lake Como was quite common because it wasn’t far. And once a short drive we went to Parma for this amazing dinner; All eight of us piled into two cars. That almost doesn’t exist anymore. Part of the reason is that traffic is bad, so you don’t have those leisure hours. Now I usually go to London after the Paris shows are over for about three days. So if Paris ends on Wednesday, I’m at the Eurostar on Wednesday afternoon. Or I will go to Berlin or somewhere in Italy. Fast forward 36 hours to the Loire Valley. Andre Leon Talley and I once went to the American Cemetery in Omaha Beach. I wish we had more time for things like this.
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