Lifestyle
What does it take to style someone like Beyoncé? Take a cue from Zerina Akers
How does one become a stylist to the stars? When you hear the story of Zerina Akers, stylist to Beyoncé, Megan Thee Stallion and Karol G, you learn that success not only takes devoted work but also genuine community building. One builds a career alongside others.
Visual artist Maria Maea has had the unique experience of following Akers since the beginning of her professional career, when they worked together in production. Both have since become successful artists in their fields. Curious to reflect on what this journey takes and has been like, Maea reached out to Akers to have a conversation. The timing coincides with Akers’ newly launched Saint Helen’s House, a social club and showroom in Tarzana that will serve as a space for young stylists and women across industries to socialize, find outfits that feel good for their bodies and appreciate art — Akers collaborated with Hammer Museum curator Erin Christovale for the space’s first of many exhibitions. Saint Helen’s House is a natural outgrowth of Akers’ first business venture, Black Owned Everything, which she describes as a digital marketplace that has “become a launching pad for Black entrepreneurs and creators” and a way to break barriers and share information with people.
After years of collaborating with others, Akers is starting to feel reciprocation from her community with the opening of Saint Helen’s House. In her words to Maea, “They’re able to show up for me in a real way.”
“Where I’m seeing women now, where I’m connecting with a lot of women and people now — they’re at the top of their game,” says Akers. “We’re able to pull together our resources and create something new.”
Maria Maea: What are some of your earliest memories of fashion?
Zerina Akers: Oh, my goodness. My earliest memories of fashion would be getting a red polka dot dress for Easter and refusing to take it off.
MM: I love it.
ZA: There are pictures of me from about ages 3 to 5, and I’m still wearing the same dress. They had to hide the dress from me.
“My earliest memories of fashion would be getting a red polka dot dress for Easter and refusing to take it off.”
— Zerina Akers
Back then, I didn’t realize we were in the quote-unquote ghetto or in the hood or anything — I didn’t really know the difference. But in hindsight, I think fashion and what you wear held a lot of power — how you showed up in a room and the hierarchy of social anything, like wearing the latest sneakers and the latest trends put you in a powerful position in a room. Eventually, in high school, I started making my own clothes, and people would wear them and buy them. Back then, I thought the only way to work in fashion was to become a fashion designer, so I started studying fashion design, but quickly realized I didn’t have the patience to sew a button-down shirt. So I switched to marketing and was able to discover styling through my first internship at W magazine.
MM: What was the moment where you knew that this was your path, where you decided, “OK, I can grow in this space”?
ZA: I never really felt like I was cut out for a 9 to 5. I always knew I wanted to work for myself. Going into my very first internship at W, I was trying to find myself, trying to see myself, though I didn’t necessarily see myself in that moment — I was the only Black girl in the office as an intern. I just started to explore assisting bigger stylists, and I was always taught to make your mistakes under an umbrella. So I took the path of assisting and interning and wanting to learn as much as I could and go from there. I started doing commercial styling, and that’s really what I think set it in for me. I was assisting stylist Ray Oliveira, and these jobs are very different than the high-fashion jobs. You got off at 6. You came in at a certain time and ended. I saw single women that were working and able to buy houses and make a life for themselves without necessarily being married or coming from a rich family. I was able to see a lot of women take hold of their own lives and that, for me, resonated, while still being able to be creative and create your own hours on your own time. I kept going after that.
Zerina wears Balenciaga top, Dries Van Noten skirt, Schutz shoes.
MM: You and I have known each other for almost a decade in the industry. I thought a lot about the magic of women working collectively and the trust that we can build and the communities that we can create, that get forged through our labor, but also, as you said, all these moments of agency for women of color. Thinking back to your early days as an artist, how did you create trust with your vision and your voice in these spaces? How did you begin to build yourself up?
ZA: I assisted for a while, but when I went to go on my own, I was fortunate enough that my first client as an independent lead stylist was Beyoncé. In hindsight, looking back, the goal was for me to step into it, because often, people are more afraid of success than they are of failure. That being said, it still took me a while to build my confidence, I was kind of doing it as I was learning the job.
One of those first moments for me was the hat look in the “Formation” video — I just remember fighting for that video, and I really wanted to work on it, so I would pitch all these ideas. But I was just the closet girl; they didn’t necessarily think I could take on such a large project. So I did a couple of fittings, and Beyoncé liked this one look that I did specifically and decided to put it in the video. And that look then became almost a symbol for a movement, and a symbol for an entire music era of hers. That, I think, is when I realized I was contributing to creating things that were going to outlive me someday. And then, what do you do with that? Working with someone like Beyoncé, who has seemingly done it all, and worn it all, how do you create new silhouettes? But more important, how do you utilize the platform? For me, it was always important to reach out to independent designers and allow them space on that platform, so it wasn’t just all seemingly high-end Parisian, Italian luxury. She kept her ear to the street, and just that simple gesture of allowing a lot of the younger talents to take space, you have the success of designers like Sergio Hudson and Romeo Hunte. Also Sarah [Diouf] with her brand Tongoro out of Dakar, Senegal. Beyoncé wore her garments twice one year, just on vacation, and Sarah went from employing seven people to employing 50 people. You can’t measure that kind of reach, where you’re able to shift the trajectory of someone’s life and their success. That’s really powerful.
Zerina Akers at Saint Helen’s House.
MM: With Saint Helen’s House, you talked about it becoming an art space and a social club. Why have you decided to make L.A. the home for this project? What is it about this moment in your life and also this location?
ZA: I relocated to L.A. about seven years ago, and it’s been home ever since. When you really get to know Los Angeles, like the real Los Angeles, there’s a certain family unit that’s really beautiful. The way that there’s legacy community and people generationally helping each other — you don’t really find that in a lot of cities, and so that’s always inspired me as I’ve gotten to know the real L.A. But then, juxtaposing that with being in Hollywood, having experienced firsthand the industry, it can be very exclusive. That inclusion, giving younger stylists access that [they] typically may not get to standard showrooms, giving women — the backbone of this industry is often a lot of women [and] they too are going to events, going to red carpets. Where’s their look? They want to look good, they want to feel good. Opening the doors to everyone has changed the game, because it’s just opened a floodgate of community and networks that we are able to build on at the showroom.
I decided to go into more of a residential space to maintain the intimacy of what we were offering our clients, to be able to forge that community there in the space. With Saint Helen’s house, as I went through escrow closing on the space, all of these other ideas came to mind. I have a deep love for the art community as a whole, and the business of art is also very interesting to me, and how artists develop, how their work evolves and how people get to know them. There is power for me in also investing in art. I wanted to offer that to the clients that are coming in the showroom. I wanted them to have their ears to the streets and feel like they’re ahead of the curve in getting to know a lot of these artists. You actually introduced me to Erin Christovale, and we were able to work on this and bring this to life. “Glimpses of the Self” is the first gallery opening of many. I plan to do exhibitions quarterly.
MM: Can you speak a little bit on “Glimpses of the Self”? You had wall text up about seeing yourself, which was such a powerful gesture because so much of the showroom is about getting to embody yourself.
ZA: The combination of artists that we have, like yourself — you have a beautiful woven piece that for me resembled an eye — you have Adee Roberson, who is capturing family and people in joy, in moments of intimacy, to February James, her [portraits capture] some of the more somber moments, which kind of really forces you to reflect on yourself. I just wanted people to come in and see themselves. I thought that was just a great way to open the space.
Zerina wears Proenza Schouler top and skirt, Balmain heels.
Saint Helen’s House, Akers’ new social club and showroom in Tarzana that will serve as a space for young stylists and women across industries to socialize, find outfits that feel good for their bodies and appreciate art.
MM: What advice would you give to a younger self or up-and-coming young women who are navigating these spaces?
ZA: First and foremost: Take the time to learn your industry and your business. Often, we’ve gotten caught up in the 120 characters of life and just how quickly social media is moving. I think people aren’t necessarily taking the time to learn their industry and really learn the business they’re being a part of. It’s fun wanting to learn a couple of things and then go out on your own, but if you’re not managing your bit as well, you’re not going to be able to keep those clients — they’re making sure [that] you have clean business, that you’re in good financial standing, to really be ready to take on the growth that you see. And do right by people, because in three short years, that intern can be your boss. Just always be decent to people.
MM: I want to bring up the value of women working together. There’s so much energy that’s forged around being on a job and showing who you are through your labor, how you show up. A lot of my friendships have been built in that space. Can you speak about some of the histories you’ve had working with different people along your path?
ZA: I’m seeing a point where so many people around me have evolved and morphed into something totally different than how we met. Even us, for example. You were this production master and now you’re this flourishing artist, and you’ve evolved into something so very different. Where I’m seeing women now, where I’m connecting with a lot of women and people now — they’re at the top of their game. We’re able to pull together our resources and create something new and amplify whatever we’re doing and help each other. It continues to be so powerful for me, for us to support each other, especially in this climate, where it seems like we’re being targeted. I think it’s important to come together and stay together.
Makeup Brandy Allen
Hair Diane Griffin
Location Saint Helen’s House
Zerina wears vintage Celine dress, Acne Studios jacket, The Row heels.
Lifestyle
Make Way for the Investment Bank Influencers
It’s 5:30 a.m. Allison Sheehan switches on the light in the bathroom of her New York City apartment and stretches in front of the mirror. “Welcome back to another morning in the life of an ‘investment baker,’ which means someone who works at an investment bank but also makes cakes,” she says at the beginning of the video, which she uploaded to TikTok in early 2025.
Tying an apron over her pajamas, Ms. Sheehan, now 26, proceeds to pipe lilac buttercream ruffles on a heart-shaped funfetti cake she had baked the night before.
At 6:50, she heads to the gym, filming herself doing crunches before heading home to shower, put on makeup and pick out an outfit. By 8:20, Ms. Sheehan heads to her wealth management job, at Goldman Sachs (she didn’t reveal the name of the bank in her videos while employed there).
In 2023, Ms. Sheehan, who has since made cakes for brands including Goop and LoveShackFancy as well as the model Gigi Hadid, was posting on social media as “The Investment Baker,” a persona she created for her custom-cake business, Alleycat.
On her Investment Baker Instagram and TikTok pages, Ms. Sheehan posted familiar influencer content like “What I eat in a week” and day-in-the-life videos, along with breakdowns of her corporate wardrobe. At the time, her DMs were inundated both with cake orders and with young women seeking advice on how to break into finance.
The finance industry remains one of the most sought-after sectors for college graduates. In 2025, Goldman Sachs saw 360,000 students competing for just 2,600 internships — up 15 percent from the previous year. It has also historically insisted that employees maintain a low profile on the internet. Ms. Sheehan was careful never to disclose the bank at which she worked in her videos, and she never filmed herself in the office, per her employer’s rules. In fact, she never discussed finance much at all. Still, the tension between the “two worlds of baking and being a financier was the whole allure,” Ms. Sheehan said.
Yet Ms. Sheehan was informed that her baking content was seen as a “reputational risk” for the firm. She was instructed to delete every post on her TikTok and Instagram and to change her handle so that it made no reference to the word “investment.” When Ms. Sheehan drew comparisons to the firm’s chief executive, David Solomon, who moonlights as a D.J., she was told she could not compare herself to him. She pushed back, saying that the firm’s policy should apply to everyone. “It doesn’t work like that,” she said she was told.
Like Ms. Sheehan, Sahilee Waitman, 28, used the fact of her employment at an investment bank as a hook for her TikTok videos. Ms. Waitman moved to New York City from Amsterdam to work in compliance at an investment bank in 2023. She soon started posting day-in-the-life content, detailing everything from her workouts to what she ate for lunch, with the goal of building financial autonomy outside her corporate role. Both women were clear that while they worked at investment banks, they were not investment bankers, often a point of contention or confusion in the comments section.
The New York Times reached out to many of the investment bank employees on TikTok, but they declined to comment for this article, fearing the risk to their reputation. The New York Times also reached out to 14 different banks, among them Goldman Sachs, but none responded to requests for comment regarding the matter of social media use among employees.
Despite these fears, investment banking content is going viral across social media. Nearly 60,400 videos tagged #investmentbanking have appeared on TikTok in recent years. Time-stamped 100-hour work weeks and late-night keyboard A.S.M.R. regularly draw hundreds of thousands of views on TikTok. Part of the appeal is that influencers offer a more realistic depiction of the world of work than can be gleaned from shows like “Industry” on HBO or from actual recruitment events.
Ms. Sheehan was determined to show that even bankers could have a life outside work. In October 2024, a year after posting her first video, a meeting with her manager appeared unexpectedly on Ms. Sheehan’s calendar. At first, she thought it might be good news. But the excitement was short-lived when she was greeted by three compliance officers. “We see you have an online persona called ‘The Investment Baker,’” she recalled them saying.
At present, there is no widely agreed-upon policy regarding employees’ personal social media use. The Financial Industry Regulatory Authority, the largest independent regulator for brokerage firms in the United States, and the Securities and Exchange Commission, a government agency that regulates the entire U.S. securities industry, have rules and guidance dictating that employees cannot share any information that is deemed confidential or in any way sensitive. But how firms apply their own internal policy is at their discretion.
Hannah Awonuga, the former head of colleague engagement at Barclays U.K. and a cultural transformation and inclusion consultant, sees both parties as at risk. Employees might find themselves on the wrong side of human resources. For employers, “once you allow staff to post freely,” she said, “you run the risk that they might express an opinion on a Saturday that goes against your values.”
For decades, “workism” — the belief that work is central to one’s identity — has infiltrated the American ethos, particularly for many city dwellers, whose hobbies and leisure activities can fall by the wayside. Increasingly, younger workers are pushing back, demanding a healthier work-life balance and actively working to decouple their identity from their careers.
The world of high finance is one of the last sectors to catch up. “Once you work in these industries,” Ms. Waitman said, “you’re essentially taught to choose one lane.” You are either a “serious professional,” she said, or a “creative.” “I just don’t believe those things are mutually exclusive,” she added.
Ms. Waitman, who is Black, hoped that by posting on TikTok, she would be promoting diversity in the industry. She received the occasional negative comment, insisting she must be a “secretary,” but a majority of her messages were positive, she said, and came from other women seeking her advice about pursuing careers in finance.
At the time, Ms. Waitman did not receive pushback from her employer on her videos, though she made sure to declare any outside business activity to compliance and her director. “I think firms are just now catching on to this,” Ms. Waitman said. “Once they find out, you have compliance on your neck.”
A recent glossy fashion spread in Interview Magazine entitled “Meet the Finest Boys in Finance” highlighted what can happen when young finance professionals attract the wrong kind of publicity. The designer-heavy photo shoot was mocked and meme-ified online for violating Wall Street’s sacrosanct rule against flashiness.
Across social media, some women were quick to point out the double standard at play. “But women get fired from Goldman for being influencers …” read one comment left on a TikTok video about the spread.
In fact, many of the people posting influencer-like content are young women, which is at odds with the traditionally male-dominated world of high finance.
A spokesperson for Goldman Sachs told Bloomberg that the interviews in Interview Magazine were not approved by the firm.
After the compliance meeting, Ms. Sheehan did as she was instructed and archived all her social media posts. Three months later, though, she put them back up. “I didn’t see my posts as a violation of the bylaws,” she said. Immediately, another meeting with compliance landed on her calendar. This time, her cake business was taking off, and Ms. Sheehan decided to hand in her resignation. (Goldman Sachs did not respond to requests for comment.)
As banks are forced to iron out their policies in an ever more online world, workers sharing the minutiae of their days is likely to become an increasing headache for compliance. “If you have five followers, there’s no need to make anyone aware,” Ms. Awonuga said. But, she added, “as more Gen Z’s come into the workplace and grow in their roles, I just don’t know how feasible it becomes to say you’re not allowed a social media presence.”
Ms. Sheehan, meanwhile, has no regrets. “I cannot believe,” she said, “that they were concerned about me making pink cakes when people are insider trading.”
Lifestyle
She’s the so-called Womb Witch of L.A. Here’s why her clients keep returning
Leigh McDaniel always knew she was destined to become a witch. Growing up in Hawaii, she came from a long line of “kitchen witches,” she explains — women who intuited measurements, spices and when a cake was done from the next room. “There was always a part of me that was like: Yeah, I’m a witch,” says McDaniel from her California sun-soaked studio.
Today, McDaniel — who calls herself a “womb witch”— practices a different kind of magic: pelvic care bodywork. Based in a bright studio in Glendale, McDaniel serves clients of all genders. Before each session, McDaniel invites clients to share their personal histories, and then McDaniel performs bodywork through touch as sage smoke curls in the air.
“A person who left today had their first session and was like, ‘I’m so much lighter in my body,’” McDaniel says.
McDaniel’s work is rooted in holistic pelvic health and touch therapy, which she discovered after giving birth to her second child at age 46. Before her daughter was born, McDaniel says she met her in a dream. The child introduced herself as “Luna.” The name stuck. After her birth, McDaniel theorized that her daughter had “reorganized her pelvic bowl.” When she sought out answers from her midwife and OB-GYN, they were dismissive; the experience prompted her to explore alternative care.
“It sent me down a few rabbit holes,” McDaniel says. “Previously, I had studied naturopathy with the intention of going to a naturopathic school — herbalism, Reiki and light touch therapy.”
Leigh McDaniel says that after one session her clients often feel an immediate shift in their bodies.
(Dania Maxwell / For The Times)
While body wisdom and alternative healing are framed as part of the Goop-conscious modern wellness movement, McDaniel explains that these practices are not new. She cites Ubuntu, a South African philosophy that informs her healing approach. “Indigenous practices knew how to hold people in trauma,” she says. “We’re only just beginning to figure it out.”
After an explanation of the nervous system, consent and the pelvic floor, her sessions begin with McDaniel burning sage or mugwort while the client is on the table. She asks for consent before touching the client and offers a prayer or blessing. McDaniel explains she’s feeling for energy before moving on to the abdomen, where she applies various levels of pressure. She compares it to a guided meditation as she incorporates breathwork while asking clients to breathe into her fingers. She emphasizes that the client controls the pace and asks for consent at each step.
“I think consent and boundaries are so critical to taking care of your body,” she says.
The intimate nature of McDaniel’s practice has garnered attention — and occasional skepticism. Comedian Ali Macofsky, for example, says with a smile, “I go in person to this womb witch,” on “The Endless Honeymoon” podcast. The hosts are baffled and intrigued. Macofsky adds, “It feels very old school the way women have to go through things.”
Macofsky discovered Leigh through actor and comedian Syd Steinberg who highly recommended her work. “I went to help with some CPTSD [complex post-traumatic stress disorder] and TMJ [temporomandibular joint] pain and she helped,” says Steinberg. “She really is a miracle worker.”
Macofsky was intrigued by the whimsical title of “Womb Witch.” “I was like, I’ll make an appointment and see what happens.” After a phone call, McDaniel explained that she helped clients with physical intimacy and sexual trauma through bodywork. The comedian was hooked.
Macofsky notes that in a culture where female pleasure is not prioritized, it’s hard to know where to seek advice. After a session with Leigh where she discussed advocating for oneself sexually, Macofsky began to see the results take hold in surprising ways. “It’s helping me in other areas where normally I’d be uncomfortable to advocate for myself or speak up about what I want.”
Clients seek out the womb witch for a variety of reasons. Some report physical discomfort during sexual encounters, while others come after experiencing sexual assault, abuse or consent violation. At other times, clients may experience stiffness or pain that McDaniel believes may be a reaction to trauma.
Her session also focuses on sexual health. McDaniel gives her clients a tutorial on pleasure anatomy and consent, most recently teaching sexual health lessons to a gathering in Silver Lake. “I like to show a lot about the pleasure anatomy, the mobility of the uterus, and where the cervix is at different times of the month,” she explains.
McDaniel argues that pleasure is an important part of daily life. “Female pleasure is finally being noticed,” she says. “Pleasure is a birthright. There’s pleasure and there’s grief. To be full-spectrum humans, we need to be feeling pleasure.” McDaniel cites that recent studies claim the clitoris has 10,000 nerve endings.
Leigh McDaniel holds a bowl of coconut and castor oil that she often uses with clients.
(Dania Maxwell / For The Times)
McDaniel says that everyday stress — including sexual harassment and misogyny — manifests in the body, often leading to chronic pain. “In patriarchy, the comments land in your body, and you find yourself bracing every time you pass them,” she says. “They can seem so small and harmless, but even those little things add up. They’re felt. It’s part of feeling unsafe in the world.”
Though many people struggle to navigate the American healthcare system, more Americans are turning to a spiritual wellness approach. The National Institutes of Health reports that holistic care methods such as meditation, acupuncture and yoga have grown significantly in recent years. Ancient Chinese medicine techniques have gone viral on TikTok, capturing the attention of Gen Z. “People are more willing to look outside the Western medicine model,” McDaniel explains. “I have people that come here to see me because of medical trauma too.”
Dr. Tanaz R. Ferzandi, director of urogynecology and reconstructive pelvic surgery at Keck Medicine of USC, believes that holistic medicine can be a potent adjunct to more traditional remedies. She has recommended acupuncture to her patients who have experienced sexual trauma. “The whole idea of acupuncture is you’re lying there, and coming to peace with yourself and your body,” she explains. “It’s a forced therapy where you can be alone with yourself and shut out the rest of the world.”
Simultaneously, Ferzandi believes a healthy amount of skepticism is good. “We have to stay scientific — what’s the evidence behind it? As long as women understand that we don’t know if there’s data to support some of the things they’re doing,” she says. “I’m very cautious about touting certain things that are somehow going to be a panacea.”
McDaniel’s explains its rare she encounters skeptics at her practice. “I never try to convince anyone to come in for a session,” she says. “There are scientific studies on the efficacy of different types of work that are adjacent to, or similar to what I do, but nothing exact.”
She acknowledges elements of her work are difficult to quantify. “There is also a mysterious space between bodies, the client and myself, where something happens that I cannot really explain, but it feels magical,” she says. “I don’t think any of this would convince anyone who is inherently skeptical though.”
McDaniel views her daughter Luna’s birth as the inciting incident into her true calling — becoming the “Womb Witch.” “Everything that happened to my own body after her birth, it was a calling to do this,” she says. “I’ve done so many things, and this is the first time I really feel settled in what I do.”
Lifestyle
N.F.L. Style Will Never Beat N.B.A. Style
You want to see some real fashion ingenuity? Watch the N.F.L. draft.
I’m not saying it’s all good, but where else are you going to see someone in a double-breasted suit made by a company better known for making yoga pants? Or an Abercrombie & Fitch suit jacket so short that it exposes the belt loops on the pants beneath?
On the whole, the style on display at the N.F.L. draft last night was very overeager senior formal: a lot of suits in colors beyond basic blue. The quarterback Ty Simpson wore a custom suit by the athleisure label Alo, which, I have to say, looked better than I would have envisioned had you said the words “Alo Yoga suit” to me.
I thought it might have been from Suitsupply, but the conspicuous “Alo” pin on his right lapel put that idea to rest. Simpson, smartly, unfastened that beacon before appearing onstage as the 13th pick to the Los Angeles Rams. He had, perhaps, satisfied his contractual obligations by that point.
Earlier in the evening, as the wide receiver Carnell Tate threw up his arms in exaltation after being picked fourth by the Tennessee Titans, his cropped Abercrombie & Fitch jacket revealed a swatch of rib cage. He looked like a mâitre d’ who had just hit the Mega Millions.
During the N.B.A.’s extended fashion awakening, its draft has become a sandbox for luxury brands to cozy up to would-be endorsers. The Frenchman Victor Wembanyama broke a kind of cashmere ceiling when he wore Louis Vuitton to go first overall in the 2023 N.B.A. draft.
The N.F.L. draft has none of that. The brands you see are often not brands at all, but custom tailors that reach the league’s neophytes through a whisper network among players. The draft is also a platform to raise the curtain on longer-term brand deals that better suit these rookies. We may, for instance, never see Simpson in a suit again. Nearly every photo from his time at Alabama shows him in a T-shirt or hoodie. It makes sense for him to sign with Alo.
Football is the most mainstream of American cultural entities. And it’s one that still hasn’t, in spite of the league’s best efforts, taken off overseas. Few players, save some quarterbacks and a tight end who happens to be engaged to a pop star, feel bigger than the game itself. If you’re a new-to-the-league linebacker, you’ll most likely never harness the star power to grab the attention of Armani, but you might have just the right pull for Abercrombie.
The N.F.L. draft is therefore one of the few red carpets where the brands worn by the athletes may also be worn by those watching at home. How many people watching the Oscars will ever own clothes from Louis Vuitton or Chanel? People may comment online about Lady Gaga wearing Matières Fécales to the Grammys, but how many of those fans and viewers could afford to buy clothes from it?
The Japanese designers changing fashion
Yesterday, I published a deep dive into how a newish crop of Japanese designers are soaking up all the attention in men’s fashion right now. This was a piece I was writing in my head long before I sat down and finally started typing. I remember sitting at a fashion show in Paris over a year ago — I believe it was Dior — and being asked by my seatmate if I’d made it over to a showroom in the Marais to check out A.Presse. That Tokyo-based brand is now part of a vanguard of Japanese labels that, on many days, seems to be all anyone in fashion wants to talk about. I spent months talking with designers, store owners and big-time shoppers to make sense of why these brands have kicked up so much buzz and, more than that, what makes their clothes so great. You can read the story here.
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