Connect with us

Lifestyle

He swapped his lawn for native plants after asking, ‘What was meant to be here?’

Published

on

He swapped his lawn for native plants after asking, ‘What was meant to be here?’

Water-hungry lawns are symbols of Los Angeles’ past. In this series, we spotlight yards with alternative, low-water landscaping built for the future.

When Christopher Smee welcomes visitors to his Glendale garden, he enjoys giving what his friends jokingly call “the botanical tour.”

“Would you like to walk through the native chaparral?” he asks, pointing out the California native plants in his front yard: a multi-trunk toyon, bright orange California poppies (Eschscholzia californica), lantern-shaped Bladderpod (Cleomella arborea) with yellow flowers that bloom most of the year, purple Arroyo lupines (Lupinus succulentus), fragrant Allen Chickering Sage (Salvia ‘Allen Chickering’), and tall, silvery white sage (Salvia apiana) at the center.

“I love the majesty and structure of the white sage,” he says, pointing out the dried branches he leaves for the birds. “I love the color, and when I learned about its importance to the Indigenous community, I felt it should be at the center of the garden.”

Before: Christopher Smee’s Glendale home when it had Bermuda grass and nonnative plants.

Advertisement

(Christopher Smee)

Christopher Smee's front yard filled with native plants.

After: Smee’s garden today.

Like many newcomers to Los Angeles, Smee, a 45-year-old former flight attendant, was fascinated by the city’s landscape and its famous palm trees when he first moved from England.

As he spent more time hiking outdoors in Los Angeles, on the Mount Thom trail in the Verdugo Mountains and the Pacific Crest Trail in the San Bernardino Mountains, Smee started to appreciate the native plants that thrive in Southern California’s dry climate.

Advertisement

So when Smee and his husband, Ryan Tish, bought a 1925 French-style home in the Rossmoyne Historic District, he knew he wanted to redesign the traditional front yard.

“There was a privet hedge, a lonely juniper, a hibiscus, a large bird of paradise and a camellia bush,” he says. “The lawn was mostly dirt. In fact, it had been colored green with CGI in the online real estate listing.”

Succulents cover a table on Christopher Smee's patio surrounded by his garden.

The new patio, or “wine terrace,” overlooks the garden.

A native of Newcastle Upon Tyne, where English gardens are as beloved as football teams, Smee found the Glendale front yard’s layout off-putting. “You couldn’t get into the garden because the plants were a barrier,” he says. “You had to climb over things to get to the garden. In the U.K., my family had a long front garden that we actually used, so having a front garden and not using it seemed silly to me.”

Even though Smee had never gardened before, he decided to remove the tropical plants and Bermuda grass lawn in 2021 and plant a native garden to honor the California plants that grew there before the homes were built.

Advertisement

“I asked myself the question, ‘What was meant to be here?’ ” he says, standing in his yard as birds, bees and butterflies floated through the landscape. “That was the key question. All these plants I see in gardens — are they original? My husband grew up in L.A., and he couldn’t answer the question himself. I learned that generally they are not. I wanted to make things right, so I went on a journey to find what was here originally.”

A multi-trunked olive tree.

The only nonnative in the yard, a multi-trunked olive tree, pays homage to the Glendale neighborhood, which was once an olive grove.

He began by visiting the Theodore Payne Foundation’s demonstration garden in Sun Valley, where people can see native plants growing in their natural habitat. “They sell flash cards that are like the Farrow & Ball paint chips you get for home improvement projects,” he says. He also visited local nurseries such as Plant Material, Artemisisa Nursery and Hahamongna Native Plant Nursery, which offer native species.

Wanting a garden that was easy to use and colorful year-round, Smee contacted landscape designer Guillaume Lemoine of Picture This Land to help design a formal French garden using California native plants.

“I always had a vision of walking down the porch steps, turning straight into the garden, and being able to walk to the wine terrace,” Smee says. “You want to get some usage and joy out of your garden. Not just something to look at when you drive by.”

Advertisement

Like many design projects, the plan changed over time. “The French garden didn’t happen,” Smee says. “But one day I will do it.” Still, the cottage-style garden has a French-inspired look composed of four quadrants with a water fountain in the center.

A green lawn and hedge in front of a house.

Smee’s Glendale lawn before it was removed.

(Christopher Smee)

Orange California poppies and purple lupine in a garden.

Prolific self-seeding California poppies, lupine and Common Tiny Tips grow in the front yard.

(Kit Karzen / For The Times)

Advertisement

Before planting, Smee and his husband applied for a turf removal rebate from Glendale Water and Power, which gives homeowners $3 per square foot for replacing turf with drought-tolerant and native plants and for installing irrigation and a rainwater capture system. After the work was completed, they received a $1,596 rebate for removing 798 square feet of turf in the 2,000-square-foot yard. Smee estimates they spent about $20,000 in total on design fees, plants, removal and installation before the rebate.

Next, they hired Roger Ridlehoover and Maria Maturano of the Land Design Project to remove the lawn and plant climate-appropriate plants. The team started by cutting the Bermuda grass, turning it over and letting it sit to kill the roots. Then they added cardboard and a thick layer of mulch, using a no-dig gardening method called sheet mulching. “It worked,” Smee says. “We had a few strands of Bermuda grass come back, but that was it.”

Smee is backed by white sage in a "Tiny Planet"-style photo.

Smee is backed by white sage, which he wanted to be the center of the garden. Note: This photo was taken with a 360-degree camera.

After setting up movable micro-emitters for irrigation, they planted native species that fit the site, soil and climate, focusing on their role in supporting a diverse ecosystem.

Because of a delay with their retaining wall, they ended up planting the garden in July 2021, which is usually the hardest time of year to start a new garden.

Advertisement

But the delay proved that you can plant in the summer, Smee says, at least if you use native plants.

“We only lost a few plants,” he says. “Of course, fall is the best time to plant before it gets too hot, but if you are working with a good landscape designer, it is not out of the realm of possibility. “

From the street, you can see the garden’s silver and green leaves shimmering, with bright bursts of California lilac (Ceanothus Yankee Point) spilling over the front wall. Toyon brings red berries in winter and white flowers in spring, while California sagebrush and Cleveland sage fill the air with an intoxicating perfume. There is now a new patio that looks out over the garden, just as Smee wanted. All the plants are native, except for an olive tree he planted to remember the neighborhood’s past when olive groves filled the area before homes were built in the 1920s.

Bladderpod (Cleomella arborea) flowers most of the year.

Bladderpod (Cleomella arborea) flowers most of the year.

Orange poppies.

California poppies bloom in the spring.

Advertisement

“We wanted to honor the history of the area and the theme of the streets,” Smee says about the low-fruit olive tree, which is less messy than other varieties that often leave oily stains on streets and sidewalks. Smee thought about planting an oak tree instead but worried that a large tree might be too heavy for the retaining wall along the sidewalk, so he decided against it. “It’s still a lingering regret,” he says.

“I love seeing the deep, rich green of the toyon next to the pale green of the sage, dudleyas, sagebrush and the olive tree,” Smee says. “I wanted to make sure that even in the hottest part of summer, my garden wouldn’t turn brown.”

After years of working in his garden, the former novice has figured out what grows well in his yard’s different spots. California Wax Myrtle (Morella californica) couldn’t handle the summer heat. Salvia clevelandii ‘Winifred Gilman’ didn’t do as well as the other sages and was too aromatic for his taste. He also tried showy penstemons, but they didn’t like the shade near the house.

Advertisement

“Native plants are often described at nurseries with their sun preferences: ‘full sun’, ‘partial sun’, ‘shade,’ etc.,” he says. “But full sun in Glendale is very different from full sun in coastal Brentwood. Trying out different plants has helped me learn what ‘full sun’ means in my own garden, so now I can choose plants more confidently.”

An overhead shot of the garden from a drone.

An overhead view of the garden.

Smee learned a few things about himself along the way too. “I’ve always thought water fountains were a bit twee,” he says with a smile, but now he loves his. He found the clean-lined water fountain at Reseda Discount Pottery & Fountains, which he calls an “Aladdin’s cave” with hundreds of fountains running at once.

“It’s like in ‘Indiana Jones and the Last Crusade’ where he has to choose the goblet,” he says, laughing. The birds and bees love it too, he adds. “The ravens have left Cheez-Its for us.”

Five years later, Smee’s dream is now a reality. He strolls along a stepping-stone path through dry chaparral and coastal sage scrub, with Mexican gold onyx boulders on either side, leading to the patio where he and his husband like to host friends during the summer.

Advertisement
A fountain in Christopher Smee's front yard.

Smee didn’t think he wanted to install a water fountain, but now he’s glad he did because it attracts wildlife.

Last year, he welcomed more than 300 visitors during the Theodore Payne Native Plant Garden Tour and had to set up a one-way path through the garden to help manage the crowd.

For maintenance, Smee says he prunes once each season, four times a year. He doesn’t have a gardener and rarely waters the plants. “There is a lot of ebb and flow in the garden,” he says. “I cut it back a lot every year to make space for wildflowers in the spring. I get sad when the wildflowers die, but then I chop them back and save the seeds, and before I know it, the California Fuchsia (Epilobium canum) blooms, adding red to the garden.”

After the first year, while he was getting the garden established, he saw a big drop in the couple’s water use. “When it gets hot in the summer, I turn on the water once a month,” he says. He tried not watering at all, but when he saw the California fuchsia, also called ‘hummingbird fuchsia’ because the birds love it, struggling, he turned the water back on.

“I’m not in the wild,” he says. “It’s still a garden, and I want to enjoy it.”

Advertisement
Christopher Smee stands amidst orange California poppies.

“It’s really been a joy to reunite the soil with the plants that belong here,” Smee says of removing his lawn and planting California natives.

Now that he has finished creating a native habitat at home, Smee looks forward to using what he has learned by volunteering at the Sunshine Preserve, a 3½-acre site owned by the nonprofit Arroyos & Foothills Conservancy on the eastern edge of the Verdugo Mountains in Glendale.

Working with other volunteers, Smee has helped remove invasive plants and plant native species, including 30 oak trees that attract local wildlife like the endangered monarch butterfly, mountain lions and bobcats. Smee and his group have planted 40 or 50 white sages to help rebuild the local population.

“At the preserve, I’m learning how things grow in the wild,” he says. “The ground is natural dirt, untouched by gardeners. Woolly bluecurls can be tricky for home gardeners, but at the preserve, it thrives because it’s in the right place. We’ve probably planted hundreds of native plants over the last three years. Come back in 30 years, and you’ll see what we’re working toward.”

Smee admits he knew little about California plants and soil at first, but he says he has since become more connected to the land. In the process, he learned there is real joy in bringing native plants back to the soil where they belong.

Advertisement

“I hope people can see that a California native garden can be joyful, colorful and full of life — that’s it not just about conserving water, but about enriching life through the biodiversity that the native plants attract to the garden,” he says. “Thoughtful plant selection can ensure a native garden has something of interest at all times of the year and doesn’t have to go brown in the summer.”

Many people can make a difference on the planet even with a small garden, says Smee. “Having a native garden brings a unique level of joy because you discover you’re doing something for the native wildlife that no other type of garden can do,” he says. “It’s a really special thing.”

A sign in the garden notes "Native Plants Live Here."

PLANT LIST

Bladderpod, Cleomella arborea

Blue grama grass, Bouteloua gracilis

Blue grama grass ‘Blonde Ambition’, Bouteloua gracilis ‘Blonde Ambition’

Advertisement

Bright green dudleya, Dudleya virens ssp. hassei

Britton’s Dudleya, Dudleya brittonii

California Laurel, Umbellularia californica

California Buckwheat, Eriogonum fasciculatum

California Fuchsia, Epilobium canum

Advertisement

California Goldenrod, Solidago velutina ssp. californica

Canyon Gray Sagebrush, Artemisia californica ‘Canyon Gray’

Canyon Dudleya, Dudleya cymosa

Yankee Point Carmel Ceanothus, Ceanothus thyrsiflorus var. griseus ‘Yankee Point’

Cedros Island liveforever, Dudleya pachyphytum

Advertisement

Chaparral nolina, Nolina cismontana

Chaparral Yucca, Hesperoyucca whipplei

Allen Chickering Sage, Salvia ‘Allen Chickering’

Mound San Bruno California Coffeeberry, Frangula californica ‘Mound San Bruno’

Conejo Buckwheat, Eriogonum crocatum

Advertisement

Desert Agave, Agave deserti

Desert marigold, Baileya multiradiata

Eastwood Manzanita, Arctostaphylos glandulosa ssp. glandulosa

Fingertips, Dudleya edulis

Giant Chain Fern, Woodwardia fimbriata

Advertisement

Lanceleaf Liveforever, Dudleya lanceolata

Lemonade berry, Rhus integrifolia

Emerald Carpet Manzanita, Arctostaphylos ‘Emerald Carpet’

Howard McMinn Manzanita, Arctostaphylos ‘Howard McMinn’

Vibrant Red Monkeyflower, Diplacus ‘Vibrant Red’

Advertisement

Narrow Leaf Milkweed, Asclepias fascicularis

Wilson’s olive, Olea europaea ‘Wilson Fruitless’

Tall Oregon Grape, Berberis aquifolium

Palmer’s Dudleya, Dudleya palmeri

Margarita BOP Penstemon, Penstemon heterophyllus ‘Margarita BOP’

Advertisement

Red-flowered Buckwheat,Eriogonum grande var. rubescens

David’s Choice Sagebrush, Artemisia pycnocephala ‘David’s Choice’

San Quintín liveforever, Dudleya anthonyi

Tecate Cypress, Hesperocyparis forbesii

Toyon, Heteromeles arbutifolia

Advertisement

De La Mina Verbena, Verbena lilacina ‘De La Mina’

White Sage, Salvia apiana

Woolly Bluecurls, Trichostema lanatum

WILDFLOWERS

Blue-eyed Grass, Sisyrinchium bellum

Advertisement

Arroyo lupine, Lupinus succulentus

California Poppy, Eschscholzia californica

Common Tidy Tips, Layia platyglossa

California Goldfields, Lasthenia californica

Advertisement

Lifestyle

Armani Goes Back to the Archive

Published

on

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.

Advertisement

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.


Continue Reading

Lifestyle

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

Published

on

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.

Advertisement

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.

Advertisement
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.

Advertisement

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.”

Advertisement
Image April 2026 Archived Edit
Continue Reading

Lifestyle

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

Published

on

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.

Advertisement

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.”

Advertisement

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.”

Advertisement

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.

Advertisement

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.

Advertisement

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.

Advertisement

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.

Continue Reading
Advertisement

Trending