Kate Young, the stylist for red carpet luminaries such as Sienna Miller, Margot Robbie, and Michelle Williams, grew up in a family of academics. She attended Lafayette College in Easton, Pennsylvania, then transferred to the University of Oxford, where she studied English and art history, before going on to work in magazines—first as Anna Wintour’s assistant at Vogue, and later, after several years in the Vogue fashion department, as fashion editor-at-large of Interview magazine. On her new YouTube show, Hello Fashion, created with The Slowdown, Young provides an inside peek, through her own distinct, high-low perspective, into the world of fashion.
In the weekly series, which premiered on Tuesday, Young highlights the quality, craftsmanship, and enduring value of clothing, objects, and accessories, and shows each piece in detail. Exploring everything from streetwear to haute couture, she invites various people from the fashion realm to pop in for quick yet illuminating conversations. On the debut episode, Young talks about how she and actor-singer Selena Gomez, a client of hers since 2014, created their latest project together: the photographic art for Gomez’s new album, Revelación. In addition to detailing the various looks—including a Valentino haute couture dress—Young FaceTimes with fashion icon Giambattista Valli, floral designer Laurel St. Romain, emerging British-American designer Harris Reed, and Gomez herself. Here, we speak with Young about the impetus for the show, and her hopes for Hello Fashion as a whole.
How did Hello Fashion come about? Why YouTube?
Well, YouTube because Derek [Blasberg, the fashion journalist] went to work there, and we’re old friends. And my friend [the makeup artist] Hung Vanngo started a channel, and he was also leaning on me. And Andrew [Zuckerman, co-founder of The Slowdown] and I spent so much time together—first on the [Time Sensitive] podcast, and then over the pandemic. Andrew and I both agreed there was a story to tell [about fashion].
Describe your vision for the show.
What I hope to do is show fashion in a more three-dimensional way—show a little more about the work that goes into some looks that people may recognize, and also detail what it takes to create and craft these clothes. I also just want it to be entertaining and fun. Fashion doesn’t always have to be about consumption and commercialism; it can be about beauty and art and a good time.
So much fashion coverage tends to be surface-level. In what ways will Hello Fashion go deeper?
What I’m trying to do is show what a stylist does, which is about defining a look and an identity. I think about what I do as branding, but for human beings. I’m creating a visual identity through clothes and hair and makeup. It’s useful to think about yourself that way. That’s a weird thing to say, I guess, but it’s what I’m trying to do.
Could you share some of the subjects you hope to explore?
There’s definitely going to be a retrospective quality, where I’m gonna show some of the dresses I’ve worked on, and explain why I picked them and how they were made. This one [Chanel] dress took eight hundred hours to make! I’m gonna give a little bit of: How do you become a stylist? What do I actually do? I’ll go into why a particular look matters and what’s interesting about it. And I want to do some viewer-driven episodes. I want to know what people want to know. In the first episode, I threw out all these fashion words, and when we were editing, I realized, We need these defined on the screen, because they’re common in my world, but not everybody else’s.
I love to watch The Great British Baking Show. I hate to bake. But I’m fascinated with making beautiful, complicated things. I want to show people how we make this crazy cake, and hopefully dazzle and amuse.
Who are some people you’re looking forward to having on?
Some of my clients, as well as the designers that I work with. It’s funny, with the pandemic, when we first started talking about doing the show, I thought, Should we FaceTime people? But now it seems like we might be able to have some conversations in person. Society swans and Instagram queens and a couple celebrities—sounds like a good party, right?
Could you describe your own personal filmic cues, and the look and feel of the show?
My entire color sensitivity is based on David Lynch films. It seriously is. I only realized this about myself as an adult. His movies were so important to me. [Rainer Werner Fassbinder’s 1972 film] The Bitter Tears of Petra von Kant—that opening scene. It’s my favorite fashion movie of all time. The original version of The Women [from 1939, directed by George Cukor] is also really, really great.
In terms of how the series looks, I’m leaning on Andrew. I have trouble looking at myself, so I look at the edits with one eye open.
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This year has been a blur, but many hard truths remain crystal clear. By now, the Trump administration’s glaring and conthe U.S. hit the 9 million mark in virus cases. While President Trump has continued to shirk responsibility, scapegoat other countries, and callously state that it “is what it is”—even as the White House itself has become a hot zone, seeing two waves of infections in the span of a single month—we kTotally Under Control, director Alex Gibney, along with co-directors Suzanne Hillinger and Ophelia Harutyunyan, bring sharp-eyed clarity to t
At age 3, Spencer Bailey, writer and editor (and co-founder of The Slowdown), survived the crash-landing of United Airlines Flight 232 in Sioux City, Iowa, on July 19, 1989. In the wake of the tragedy, he found himself the subject of a memorial sculptureIn Memory Of: Designing Contemporary Memorials (Phaidon), examining the power and potential of memorials designed over the past 40 years, from Maya Lin’s Vietnam VeteHere, he describes the process of working on the book, and tells us why the power of abstraction may help us all to heal You began working on this project nearly thirty years after the Flight 232 crash. What has it been like to process and
Japanese artist Makoto Azuma is known for creating poetic botanical sculptures, but the medium in which he works most inFlower Punk, an award-winning film about his work and life, now available for viewing as part of the The New Yorker Documentary series. In just under 30 minutes, director Alison Klayman captures the artist as he creates spectacular arrangements, a“Exobiotanica.” Rigging a camera and a flower bomb to a weather balloon, documenting his terrestrial creation as it soars through the s
Museums and galleries are reopening in New York, and one of the most compelling shows of the season is primed to take plen plein air. Organized by the nonprofit Art at a Time Like This, in collaboration with Save Art Space, “Ministry of Truth: 1984–2020” will reclaim a common component of the city’s visual real estate—the billboard—to display works by an international ran
In 1617, German artist Jobst Harrich completed an oil painting on a copper canvas. The work, which depicts a flaxen-hairposted Harrich’s painting to her feed and tweeted, “maybe if I take my tit out they will stop explaining my own joke back to me.” She applied this tactic to“Conversation in a Park,” depicting a gent gesturing toward a stoic lady (“you would be so much prettier if you smiled”), and a 1959 Norman Rockwell cover for the Saturday Evening Post, which portrays eleven men ganging up on a lone woman in a jury room (“thanks I’m gay now”). The thread went viral. A fMen to Avoid in Art and Life (Chronicle Books), sold out within days of its release. It features more than 90 artworks accompanied by wince-worthy c
An art critic, curator, and author, Antwaun Sargent has become a leading voice for a rising class of Black contemporary The New Black Vanguard: Photography Between Art and Fashion (Aperture), Sargent is serving up his next, as the editor of Young, Gifted and Black: A New Generation of Artists (D.A.P.), highlighting the works of Black artists from the Lumpkin-Boccuzzi Family Collection of Contemporary Art. An exhibition of the same name is currently on view at the Lehmann College Art Gallery (which is temporarily closed due to Covid-19)
New York–based artists and brothers Steven and William Ladd have been creating together for 20 years, using their comple“The Other Side,” on view through Oct. 17 at the Invisible Dog Art Center in Brooklyn’s Boerum Hill neighborhood, the Ladds have welcomed. Offering visceral and emotional depth to a population of society so often silenced and anonymized behind closed doors, t
Election season is upon us here in the U.S., and with all of the anxieties circulating around—pandemic-related risks, poThis is What Democracy Looked Like: A Visual History of the Printed Ballot (Princeton Architectural Press), a new book by Alicia Yin Cheng, a founding partner of the Brooklyn-based graphic design
Brooklyn-based writer and artist Edith Zimmerman served as the founding editor of The Hairpin—the former general-interest women’s website that defined a generation of online journalism, with pieces like the perenn“Women Laughing Alone With Salad”—and has gone on to contribute to outlets including The New York Times Magazine, The Cut, and the podcast This American Life. These days, you can find her work in Drawing Links, a frequently published newsletter of comics and musings. We recently polled Zimmerman about her current media diet. He
You are what you Google and “like.” This is an eerie truism of 21st-century life, where our experience of reality is larThe Social Dilemma, a new docu-drama premiering on Sept. 9 on Netflix, delves into the dangerous human impact that social networking has oCenter for Humane Technology (and our guest on Ep. 35 of At a Distance), says in the trailer: “If technology creates mass chaos, loneliness, polarization, more election hacking, [and] more i
Our summer quarantine days have far too often been spent gazing at web browser windows—far and away from vacation views,Window Swap, a mash-up of the virtual and physical. Designed as a “quarantine project” by creatives Sonali Ranjit and Vaishnav Bala
For the past five years, as one of the co-founders of the annual “JONALDDUDD” exhibition, designer Lydia Cambron has put on one of the most consistently surprising and challenging presentations of
School’s out forever—or at least for the immediate future, depending on what city you live in—and it’s certainly taking hands-on lesson plans, open-sourced and free to download, that are inspired by artists and objects from its permanent collection. “Fashioning
There’s a formula for homicide news stories: Place a TV anchor at the scene of a crime, and state that a victim was shotfatally shot in the U.S., including suicides and accidents. The sheer volume of incidents makes them easy to tune out: We don’t know
Five months on, living in a pandemic has become a new liminal normal, shifting our gaze toward the familiar sights, soun“Pandemic Objects,” an ongoing editorial project that highlights and reflects upon everyday objects (defined in the broadest sense) that hathe gaze of the drone, which has seen a surge in use worldwide in recent months, with people dispatching them in their hometowns—even to takejump rope that gives her pause as she riffles through the museum’s archives, uncovering photos, artworks, and accounts about the
The Internet Archive is one rabbit hole we’ve willingly jumped into more than a handful of times since the quarantine beWhole Earth Catalog, the 1960s counterculture print publication often referred to as “the web before the web existed”—its iconic, jam-packeElectric Whole Earth Catalog, now available on the site. Originally launched in 1998 on CD-ROM (how quaint!), the lo-fi “electric” edition offers a
Home is where the heart is—but, on the silver screen, it can be a bit forlorn. In his recently published broadside publiSad People in Modernist Homes in Popular Films, Los Angeles–based designer and art director Benjamin Critton explores the much-maligned trope of the Modernist home in popular culture, with contributing essays from writers Erik BSad People—the long-awaited follow-up to his 2010 edition, Evil People in Modernist Homes in Popular Films—and what filmic mood may strike him next for volume three of the ongoing project.