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Turf is out. Native grasses are in. Here are 4 lush low-water options

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Turf is out. Native grasses are in. Here are 4 lush low-water options

Tearing out your lawn can be a tough decision, especially if you have children or dogs who love to roll and play.

Or — no judgment here — maybe you just enjoy the visual serenity of a swath of green in a region where the hills go brown in the summer.

The good news is there are low-water, lushly green native lawn alternatives to tall fescue, the most popular water-guzzling king of turf grasses. But here’s the truth about these other options:

“There isn’t anything out there, native or exotic, that is going to stay green all year round in Southern California without some water,” said horticulturist Carol Bornstein, native plant guru and author of two definitive books about California landscaping, including “Reimagining the California Lawn.”

Christie Mahr casts a shadow across a patch of Kurapia groundcover in the backyard of her Ventura home.

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(Michael Owen Baker / For The Times)

The trick is understanding that less is more when it comes to watering any lawn, native grasses or no, she said.

“There is no lawn in Southern California that needs water every day, even in a super hot, dry microclimate,” she said, “You want to wean your lawn off that kind of life support by watering less often and more deeply — basically water when it needs it.”

Unfortunately many lawn owners haven’t gotten this message, said Jim Blair, a turfgrass specialist who oversees UC Riverside’s Turfgrass Research program. Most people are still overwatering their traditional turf lawns with frequent short sessions that encourage shallow, easily dried-out roots. And when they change over to native grass lawns, they don’t change their watering patterns, Blair said, ending up with diseased or dead native lawns due to overwatering.

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Native grasses usually require less water than traditional turf lawns because their roots grow much deeper — up to 10 feet deep in some cases — allowing them to find water stored in the ground and weather longer periods of drought.

They’ve also adapted by going dormant during certain parts of the year, like Bermuda, a warm-season grass, which does fine in hot summer months but turns brown during the winter.

For instance Blue grama (Bouteloua gracilis) is one of the native grasses Bornstein favors for lawns. It does go dormant in the winter, she said, “with a blond coloration which I think is quite beautiful. But trying to keep it green all year is challenging because too much water will kill them” by rotting the roots.

So that’s another lesson about native grasses — your expectations will have to change along with your irrigation techniques, because turf lawns and native grass lawns aren’t interchangeable, said Baird.

John Ellis’ yard features his lawn of native fescue grasses, and an agave ‘blue glow’ plant.

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(Michael Owen Baker / For The Times)

John Ellis lays in his lawn, surrounded by three kinds of native fescue grasses.

(Michael Owen Baker / For The Times)

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Traditional turf grasses like tall fescue and Bermuda were developed for two purposes — “to withstand persistent low mowing and regular traffic,” Baird said. If that’s what you want, Baird said there is a Bermuda hybrid on the market, developed in Georgia called TifTuf that has the same low-water needs as native grasses.

But if you’re sick of mowing (or paying someone else to do it), or you just want to reduce water use while creating habitat for local pollinators, birds and other creatures, then native grasses can give you the (mostly) green you crave with a lot less effort and expenses.

These will not be the flat carpet lawns of yore — although Kurapia lawns come close, at least from a distance. Native bent grass (Agrostis pallens) or native fescues like Festuca rubra grow in graceful mounding swirls and tufts that catch the light like glistening swells on a lake. They are beautiful to behold but not so easy to run through.

And unless you plant sod, which is available with some native grasses or grass mixes, it can take a while for the grasses to knit together into what we think of as a traditional lawn.

That’s one of many reasons you should consider reducing the dimensions of your old turf lawn when you decide to plant a new lawn with native grasses. Create planting beds in part of the old lawn area to grow food for your family and/or support pollinators, birds and other local wildlife by planting native trees, shrubs and flowers.

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Good drainage is critical to maintaining the health of native lawns, said Briana Lyon of California Wild Gardens in Pasadena, an online-only nursery whose products include native grass lawns. Some native wetland grasses like California Meadow Barley (Hordeum brachyantherum ssp. californicum) can live for a short time in standing water, but these are best used to line bioswales where you want to clean rainwater running off from roofs or streets.

Most native grasses prefer dry conditions and full sun. Some, like the fescues, can do well in shade, but Lyon recommends prepping the soil by tilling the top soil 4 to 6 inches deep and adding a mixture of compost and a drainage medium like decomposed granite or sand to encourage good drainage, especially if the ground previously had standing water during heavy rains.

The Kurapia groundcover, juxtaposed with concrete, in the backyard of Ray and Christie Mahr’s home.

(Michael Owen Baker / For The Times)

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A corner of John Ellis’ fescue grass lawn.

(Michael Owen Baker / For The Times)

You don’t want to add too many amendments like compost or worm castings, however. “You don’t want to discourage the roots from doing a deep exploration by staying with the yummy stuff on top,” she said.

Weeds are also a problem, especially when the native grasses are trying to get established. Kurapia and some of the grasses can eventually grow dense enough to crowd out most weeds, as long as the weeds don’t get a foothold and crowd the natives out first, so expect to do some regular weed patrols the first year to keep unwanted plants away.

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Finally, understand that the type of native grass you choose really depends on how you plan to use the space. If you want a relatively flat, easy-care space where pets and children can frolic then Kurapia may be your best choice. But if your biggest interest is creating an ornamental lawn that’s a feast for the eyes, then look towards the sculptural, undulating bent grasses or fescues.

Here’s a list of some of the more popular native grasses to consider, with this note too: Some of these grasses are native to other parts of North America too, or even other countries, in addition to California, so if in doubt, check the botanical names, consult with guides like Bornstein’s books or talk to native plant experts at the Theodore Payne Foundation, Tree of Life Nursery, the California Botanic Garden in Claremont or the Santa Barbara Botanic Garden.

A close up view of Kurapia groundcover at Christie and Ray Mahr’s Ventura home.

(Michael Owen Baker / For The Times)

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1. Kurapia

People use lots of exclamation points when they talk about Kurapia, which, for the record, isn’t a grass at all. It’s a sterile patented hybrid of a native broadleaf groundcover from the verbena family commonly known as frog fruit or lippia (Phyla nodiflora), named after the Japanese hybridizer, Utsunomiya University professor Hitoshi Kuramochi, and the origin plant, lippia. Robert Sjoquist of Soils Solutions in Ventura can’t sing its praises high enough. Sjoquist is a distributor who sells native grasses all over Southern California, but Kurapia is one of his favorites, he said, because it spreads like a carpet with pretty clover-like flowers, requires almost no water or maintenance to stay beautifully green, quickly stabilizes hillsides and slopes and helps prevent wildfire damage by snuffing out embers as they fall.

It also spreads quickly and is relatively easy to propagate, which is why the breeder, Kurapia Inc., carefully guards its latest strains, Kurapia New White and Kurapia Pink (named for the color of its flowers). These new strains can only be purchased online, through the company, said senior manager Lawrence Ziese. They’re only available in plug form now, although the company hopes to have a sod version available soon. A flat of 72 plugs, which covers roughly 97 square feet, costs $173 for the “new white” color and $187 for the pink.

Ziese said the new versions grow more densely than the company’s first offering, known as Kurapia S1, which is grown in 2-by-5-foot sod sections by Delta Bluegrass in Stockton and delivered by truck. (West Coast Turf of Palm Desert also sells Kurapia S1 sod, but is currently out of stock.) Sod is more expensive — about $315 to $340 to cover roughly 100 square feet — but you also get an established lawn in less than half the time, said Sjoquist.

Christie and Ray Mahr stand with their dogs Maggie, front, and Colt on the Kurapia groundcover in their backyard.

(Michael Owen Baker / For The Times)

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“It looks so good it almost looks like fake grass because of how uniform and low growing it is,” said Lyon. It thrives in poor soils, even sand and salty soils, as long as it has good drainage, she said. It’s important to keep it weeded in the beginning, until it becomes established.

Christie and Ray Mahr of Ventura say they and their dogs love the 3-year-old Kurapia lawn in their backyard. They planted the lawn themselves from plugs — a job that took just a couple hours, Christie said — and it took some maintenance the first few months to keep weeds from resprouting. But she and Ray say that’s nothing compared to the work that went in to mowing and watering the Marathon turf lawn they had before. Now they rarely water the lawn. It seems to get enough water from the drip lines for trees and other plants.

They use hand clippers to keep tendrils from growing beyond the lawn boundaries and Ray mows just once or twice a year to remove the flowers that come in the spring to early summer. “They most definitely brings bees to your garden,” Christie said. “I won’t even come out here and walk unless I’ve got tennis shoes on because otherwise you know you’re going to step on a bee or a butterfly.”

Lippia, used as an alternative to traditional lawn, in Redlands.

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(Brian Chau)

2. Frog fruit, a.k.a. lippia (Phyla nodiflora)

The parent of Kurapia is endemic to California and many other parts of the world, including Texas and the southeastern coast of the United States. Like Kurapia, it needs very little water and thrives in heat. Southern California landscape designers looked into lippia as a lawn replacement in the 1970s, Lyon said, but quickly abandoned the idea “because it seeded so aggressively,” spreading into neighboring yards or planting areas where it wasn’t wanted.

But Brian Chau of Redlands said he hasn’t really seen that problem in his front yard. Chau usually blogs about fishing, but he created a YouTube video to show off his lush lippia lawn, which he planted in 2021. He first tore out his traditional lawn and planted yarrow, which didn’t do very well, so he tilled the yard again, removing the yarrow (which still sprouts up now and again) and planted lippia. Chau said he chose lippia rather than Kurapia because it was a “fraction of the cost” to purchase — $15 for a flat of roughly 50 plugs at the time, versus around $60 for Kurapia, he said.

He buried a drip irrigation system in his yard, which he doesn’t use at all during the cooler months, and turns on for just a few minutes two or three times a week during the hottest part of summer to keep his lawn watered. “It’s just a burst of water during those times, but now I’m trying to do it just once a week for a longer period, just to experiment.”

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The lawn grows more leggy and less vigorously in shady parts of his yard, and like Kurapia, its flowers are a huge draw for bees and other pollinators, Chau said. “So if you’re allergic or terrified of bees, this lawn isn’t for you, but if you don’t mind bees, the lippia is great for attracting pollinators to our fruit trees and native plants.”

Chau said his son plays on the lawn regularly. “He runs around and beats the lawn down, but it doesn’t complain too much,” he said. “It always bounces back, but it would be detrimental to have an animal rooting around in it.” He uses hand clippers to trim back the plants trying to grow outside the lawn borders, and replants those cuttings to fill in areas that are looking thin. The cuttings “root very easily in water or moist soil,” he said, “so I don’t have to buy flats anymore.”

Native bent grass at the Carpenteria Seaside Park.

(Jeanette Marantos / Los Angeles Times)

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3. Native bent grass (Agrostis pallens)

If you love the look of a wild meadow-like lawn, native bent grass is a beautiful and fairly durable choice. Lyon said bent grass makes one of the most pet and kid friendly native grass lawns.

The city of Carpenteria planted a bent grass lawn from seed when it created Seaside Park near the library in 2014, and it’s been a handsome, easy-care choice that requires little water, said Tiffany Smith, the city’s parks and facilities maintenance supervisor.

“We mow it probably every three months at the most, so three or four times a year, and the water savings are huge. We water with regular lawn sprinklers once a week in the summer for 20 minutes or so, just enough to get the water down 2 inches,” she said. “And we’ve had almost no weeds. Every once in a while a broad leaf weed comes up and we just pull it. … We love it.”

She said they mow the lawn down to about 3 inches tall, but it grows back quickly into luxuriant waves.

Carpenteria rarely sees summer temperatures much higher than 90, but in the hottest months the lawn never seems stressed — even after people have been sitting in it. It only gets light foot traffic, Smith said, but the city is so pleased with its performance after 10 years that it’s considering whether to remove the turf lawn around the library and replant with bent grass to create a uniform look.

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“I bet we could easily cut our water use by two thirds,” she said.

Three native fescue grasses create a lush green meadow effect in the front yard of John Ellis’ Westlake Village home.

(Michael Owen Baker / For The Times)

4. Native fescues (Festucas)

If you want a lush, light-catching lawn to gaze upon, native fescues are one of your best bets, especially in a shady area, said Lyon.

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Delta Bluegrass makes a mow-free sod mix of three native fescues — Idaho fescue (Festuca idahoensis), Molate fescue (Festuca rubra) and Western Mokelumne fescue (Festuca occidentalis) that requires very little care, said John Ellis, who replaced the 1,000-square-foot turf lawn outside his Westlake Village home with mow-free fescues in December 2022.

His children are grown and no pets play on the lawn out front, so it doesn’t get much traffic, Ellis said, “but I will tell you that every kid or dog that comes by rolls around the grass. They touch it and they’re walking in it.”

Too much traffic isn’t great for the fescues, however, said Lyon, because the fescues are probably the least drought tolerant of the native grasses, and incompatible with pets. “It kills patches of the lawn if a dog pees on it.”

But if you’re looking for sculptural beauty, this is the lawn for you. Ellis figures his irrigation costs have dropped by 60%, even in his area near Thousand Oaks where temperatures can easily hover around 100 degrees during the summer. He bought the sod through Soils Solutions and hired Robert Olsen of Goldenstate Landscapes in Camarillo to remove the old lawn and install a copper-lined drip irrigation system on a smart system that adjusts watering based on moisture in the ground. All told, he figures he spent $9,000 on the project, and is delighted with the results.

John Ellis’ lawn of native fescue grass, left, by his neighbor’s lawn, right.

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(Michael Owen Baker / For The Times)

His biggest comment from neighbors is wondering if he plans to mow his lawn, Ellis said, but he likes the look of the grass flopping over. His work included installing a 12-inch barrier between his yard and his neighbor’s to ensure his grasses didn’t mingle with theirs, but the difference in color is startling. His neighbors’ lawns are both green and thick, but they look pale in comparison to his deep green growth.

Ellis said he’s had some issues with tendrils of his old Bermuda grass trying to grow through. But most weeds have been smothered, and he’s been able to pull out any Bermuda grasses he finds. “You have to stay on top of it,” he said, “but so far this has been the best choice for us.”

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Armani Goes Back to the Archive

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Armani Goes Back to the Archive

In the year since his death, there has been no hard pivot at Armani. The shadow of the founder has stayed in place over the Milan HQ, where the brand seems happy to leave it. Armani is not just plumbing the past for continued inspiration, it’s reselling it.

Today, Giorgio Armani is announcing Archivio, a grouping of 13 men’s and women’s looks, plucked from the brand’s back catalog and remade for today. (And, yes, at today’s prices.) There’s a jacket in pinstriped alpaca of 1979 vintage; a buttery one-and-a-half breasted jacket with a maitre d’s flair that first appeared in 1987; and an unstructured silk-linen suit that will activate ’90s flashbacks for die-hard Armani clients and those who want to capture that era’s nostalgia. The advertising campaign was shot and styled by Eli Russell Linnetz, who has his own label, ERL, but always seems to be the first call brands make when they want sultry photos with the aura of Details magazine circa 1995. (He did a similar thing for Guess recently.)

Linnetz’s images are a reminder of how Armani’s work still reverberates decades later.

Archivio is also a canny recognition of what shoppers crave now. On the resale market, Armani wares are as coveted as can be. Every week it seems as if I get an email from Ndwc0, a British vintage store, announcing a new drop of meaty-shouldered ’90s Armani power suits. They sell for less than $500. At Sorbara’s in Brooklyn, you can buy a tan Giorgio Armani vest for $225.

That vintage-mad audience is in Armani’s sights: To introduce the collection, it’s staging an installation, opening today, at Giorgio Armani’s Milan boutique. It will feature the hosts of “Throwing Fits,” a New York-based podcast whose hosts wear vintage Armani button-ups and shout out stores like Sorbara’s.

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It’s prudent, if a bit disconnected. Part of the charm of old Armani is that it can be found on the cheap. I’m wearing a pair of vintage Giorgio Armani corduroys as I write this. I bought them for $76 on eBay. Archivio is reverent, but its prices, which range from $1,025 to $12,000, may scare off shoppers willing to do the searching themselves.

If you ask me, the next frontier of this archive fixation is that a brand — and a big one — will release a mountain of genuine vintage pieces. J. Crew and Banana Republic have tried this at a small scale, but a luxury house like Armani hasn’t gone there. Yet. Eventually, Armani (or a brand like it) is going to grab hold of the market that exists around its brand, but through which it gets no cut.


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The story behind this rare architectural speaker from cult Japanese fashion brand TheSoloist

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The story behind this rare architectural speaker from cult Japanese fashion brand TheSoloist

This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.

You hear it before you see it.

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Turning the corner of the 15th floor corridor of the historic American Cement Building, a low thrum of electronic sounds seeps through the door of Archived, an L.A. luxury vintage curator. Inside, standing 43 inches tall, a silver speaker from Takahiro Miyashita’s brand TheSoloist vibrates high fidelity through the showroom.

Constructed of 3D-printed polycarbonate resin and aluminum, with a wide amp frequency range of 20Hz to 25KHz, the object looks less like a speaker and more like a relic of time. It is an artifact set in concrete, chiseled away to reveal a replica of the Flatiron Building in New York City. Containing seven audio channels and two bass speakers, its vibrations can be felt against the skin.

Dream Liu, along with his partner Marquel Williams, founded Archived in 2019 to resell rare vintage collectibles. Their designer wardrobe houses some of the most sought after pieces in the industry — like a 1990 Chrome Hearts biker jacket— but the collection of homeware, including a Giovanni Tommaso Garattoni glass chair or a Saint Laurent arcade machine, is what greets you when you walk in. “That’s one way we stand out from all the other archival brands,” Liu says. “We’re very much deep into everything design-related, not just fashion.”

Liu first encountered TheSoloist speaker a few years ago at the home of a friend, a lighting designer working in music who he admired. The speaker, he says, lived at the back of his mind ever since. Archived eventually sourced it directly through TheSoloist’s manufacturer, now acting as an intermediary seller. Only a few hundred of the silver color-way, on display in the showroom, were produced. Even fewer exist of the black, for sale on their website for $9,500.

Miyashita, the cult Japanese designer behind early-2000s punk label Number (N)ine and later TheSoloist, is known for fusing meticulous Japanese craftsmanship with distinctly American motifs. The speaker, for instance, pays homage to New York City, where he opened his original store. Without even seeing a single garment, his style is clear: avant-garde, grunge and very rock ’n’ roll.

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Image April 2026 Archived Edit
Image April 2026 Archived Edit

(Archived)

Six months ago, Archived opened its MacArthur Park showroom, a brightly lit loft with exposed beams, floor-to-ceiling windows and a panoramic view of downtown. Today they are a team of about six people. Distinctive objects like TheSoloist speaker are an extension of not only the brand’s imprint, but the architecture that houses it. “The speaker fits perfectly into this space.”

Archived, whose clientele consists mostly of celebrities and high-profile curators such as Timothée Chalamet, Travis Scott and Don Toliver, sources its pieces through consignments from sellers and endless hours spent hunting across international marketplaces. When it comes to selecting which piece makes it to the floor, Liu looks for collectible items and whatever fits the brand’s taste, which can be described as minimal avant-garde with a touch of fine craftsmanship.

“Nothing is random,” Liu says. Every item at Archived has a story, from the Giseok Kim aluminum shelf where an unworn pair of 2005 reconstructed Nike Dunks are displayed, to the Marc Newson racks which archival Rick Owens hangs off.

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The speaker is valuable, Liu admits, because of Miyashita’s reputation as one of the greats, placing him alongside designers like Jun Takahashi and Yohji Yamamoto. “Our audience knows his designs and all of his great collections,” he says. “So the speaker itself speaks volumes.”

Originally from West Palm Beach, Fla., Liu moved to California to study fashion merchandising at FIDM in San Diego. Before that, he had dabbled in architecture. “It’s always been in the back of my mind,” he says.

Liu said he recognizes that designers, after a time, get fatigued with profit-driven conglomerates and begin to delve into other art forms. “Fashion is just another art form, and I think eventually, when [designers] tire of making clothes — Helmut Lang as an example, even Tom Ford — they transition to art.”

If the nature of design is building upon and taking from existing works, then creating an archival space is collecting pieces of history. “Everything is a reference point,” Liu says. “Every piece here has made an impact on the current climate of fashion.”

To Liu, items like the speaker are worthy of preservation because some of them are only getting rarer and rarer to find. “Pieces like this deserve to be presented properly, and be in spaces that reflect the caliber of the clothing,” he says. “You can put random objects in a beautiful space and that object becomes important.”

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Image April 2026 Archived Edit
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How ‘The Devil Wears Prada 2’ Red Carpet Looks Came Together

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How ‘The Devil Wears Prada 2’ Red Carpet Looks Came Together

The scene recalled the frenzy that unfolds backstage during fashion week: On a recent Monday, in a room full of clothing racks, the stylist Micaela Erlanger was working alongside a team of tailors and assistants. But they were not preparing for your average fashion show.

Ms. Erlanger and the group had assembled at her studio in Manhattan to prepare looks for the actress Meryl Streep, Ms. Erlanger’s client of 11 years, to wear during the press tour for “The Devil Wears Prada 2,” the buzzy sequel to a beloved film set at a fictionalized version of a certain glossy fashion magazine.

In the sequel, Ms. Streep steps back into the stilettos of Miranda Priestly, the publication’s glamorous editor in chief. She stars alongside Anne Hathaway and Emily Blunt, who also reprise their roles as Andrea Sachs and Emily Charlton, characters who served as Miranda’s assistants in the original film. Based on a novel and released in 2006, it has become a cult favorite among serious and casual followers of fashion alike.

To prime fans for the sequel, Ms. Streep has appeared on the cover of Vogue and, along with some of her co-stars, has traveled to Mexico, South Korea, China and Japan in recent weeks for premieres. On Monday, cast members appeared in New York, and they will travel to London for more events before “The Devil Wears Prada 2” is widely released on May 1.

Each affair has offered the cast members a chance to turn heads in finery on par with the clothing worn by the characters they play in the movie. Balenciaga, Chanel, Valentino and — yes — Prada are just some of the labels they have sported as they have traveled the globe.

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To pull off this fashion feat — and to avoid any style faux pas — Ms. Erlanger, 40, has been in constant communication with Erin Walsh, 43, Ms. Hathaway’s stylist of seven years, and Jessica Paster, 60, who has been styling Ms. Blunt for going on two decades. The women have been operating as something of a hive mind for months, sharing details of the actresses’ looks — the brands, the accessories, the color palettes — in group chats, calls and conversations on the sidelines of runway shows.

“I got to see Erin and Micaela at fashion shows,” Ms. Paster said. “We would whisper: ‘I like that. I like that. I like this. I like that.’”

In a conversation that has been edited and condensed, Ms. Paster, Ms. Erlanger and Ms. Walsh discussed their collaborative relationship, the stakes of styling press tours and the ways they have used fashion to build hype for “The Devil Wears Prada 2.”

How have you each approached dressing your client for the press tour?

MICAELA ERLANGER With Meryl, we leaned into this idea of powerful silhouettes and shapes that you haven’t necessarily seen her in. This is a fashion movie — we’re leaning into it. I would say that there are a lot of references that the fashion community will appreciate and enjoy. We have not just been referencing the first film, but referencing references within the film. I call it “meta dressing.”

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JESSICA PASTER You have to remember that Emily Charlton was an assistant 20 years ago. She has evolved. So I’m approaching her as a little stronger — a girl with power. She doesn’t need to borrow clothes anymore. Designers are now giving her the clothes, and she’s out buying clothes.

ERIN WALSH I guess I am hesitant to tell you a theme. I don’t want to encapsulate it. Ultimately, it’s always about how we make a person feel their very best.

You said you communicate via group text. What are you saying to one another?

ERLANGER We have been, from logistics to creative, kind of strategizing among ourselves. What look works best here or there? What’s the other person wearing? Will they look great together?

PASTER I remember one text among us was like: “I’m thinking red. I’m thinking a little burgundy red. And I’m thinking red, too. Is it weird that they’re all wearing red?” I said, “No, let’s lean into that, and let’s do it all in red.”

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What we do is make a picture more beautiful. If we have two people who are wearing red, and one is wearing white or purple or black, that is the girl that should be in the middle of a photo. It’s not about, “My girl needs to be in the middle.” If something goes viral, it’s going to help Erin; it’s going to help me; it’s going to help Micaela; and it’s going to help the movie because it gets everyone buzzing and excited.

WALSH With our job, there are always curveballs thrown your way. By working together, we can better navigate any kind of situation in a joyful way without having breakdowns.

Styling has a competitive aspect, in that there are only so many looks, and everyone can’t always get what she wants. How are you navigating that together?

PASTER There are a lot of stories about stylists competing with each other. We’re not. We are so busy. We do not have time. Micaela is calling me because she needs something. I have so many questions to ask Erin and Micaela. If one of these two girls needs me, I will be there for them.

WALSH Removing anything competitive or not collaborative from the equation makes us stronger. It makes our work better.

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ERLANGER Collaboration also benefits our clients. Everybody wins when we are aligned.

I’m curious, where were you in your careers when the original “The Devil Wears Prada” premiered?

ERLANGER We have stages of our careers that directly relate back to the first movie. I was an intern at Condé Nast, the company that owns Vogue.

WALSH I was an assistant at Vogue when it came out. I watched Anne onscreen. “The Devil Wears Prada” I knew, you know, in my skin.

PASTER I was a stylist, and, in fact, I was trying to get Emily Blunt as a client.

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Modern press tours can involve several premieres in addition to other events. How has that changed how you work?

ERLANGER Social media has made every moment a photo op. Even if it is a junket day when your clients are sitting in a room for on-camera interviews, those pictures get picked up. So every single moment has become press-worthy. And, therefore, there’s more intentionality behind what clients are wearing.

PASTER People forget that we just can’t bring in a dress or two, bust out a look and call it a day. Micaela and Erin are going with nine suitcases all over the world to fit their girls, and I have two trips of fittings in Ireland.

What clothes have you been wearing during the press tour?

WALSH You’ve got to look the part. I tend to, in these situations, reach for more empowering pieces, like a shoulder pad and heels. I don’t work in flats.

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ERLANGER I need a flat, and I kind of want to be more comfortable. I’m in jeans and a blazer and a button down and a flat.

PASTER I’m working in sweats and with my hair in a bun.

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