2011 October 28
Katie Grand on Miuccia’s Skivvies and the Musical Marc Knows by Heart
Patrick McMullan View Gallery
(NEW YORK) At last evening’s inaugural WSJ. Magazine Innovator Of The Year Awards dinner, held at the MoMA, your Daily caught up with the evening’s positively lovely fashion winner, visionary stylist and Love mag EIC Katie Grand. From pal, collaborator, and award presenter Marc Jacobs’ pipes to more is more process behind her Vuitton frock, Grand is, well, pretty grand indeed. ALEXANDRA ILYASHOV
Tell us something we don't know about Marc!
He choreographed Hello, Dolly! at camp when he was 13, which is really ridiculous. We had the soundtrack on while we working this season, and Marc would get up and do dance routines. By the time the monogrammed Vuitton parasols arrived, there was a whole thing going on. Every season, there’s something like that going on. A couple seasons ago, Marc and Pat McGrath sang Evita at four in the morning. Singing tends to figure quite heavily into things.
Does Marc have a good voice?
Yeah—it’s much better than mine!
How about Miuccia?
She wears fluoro underwear.
No, fluoro. As in fluorescent. Well, I don’t know if she still does, but when we last worked together she’d quite often have fluorescent underwear on and I so loved that about her! It was so unexpected.
In the WSJ. article crowning you an Innovator of the Year, you said you “like women who look like they wanted to do what they were asked, not women who worry they’re going to get thrown off the set if they don’t.” What’s the wildest thing you’ve been asked—and wanted!—to do?
Unprintable things! I don’t think anyone’s ever asked me to do anything…that I can say officially. That’s the fun part! I’ve been on ridiculous shoots, like with Naomi Campbell, Stephanie Seymour, and all those girls jumping around on Richard Prince cars. Actually, the most out-there thing I’ve done is Kristen [McMenamy] tied up in the bottom of the pool for this issue [of WSJ.] When you’re an editor, you can do what you want and set your own rules.
And what rules do you relish breaking on a regular basis?
I have two different minds. When I’m working on a show, I’m there for the client—we’re all about a total look, how the hair is, the proportions, the shoes, and all the textures and colors in between. By the time I work on the magazine, it’s all about turning it upside down. I’m quite lucky that I can work on two very different parts of fashion, and they complement each other, I suppose.
What did you Love on the runways recently?
It was a season about romance, softness, and sweetness—quite an optimistic, but not obvious, season. Commes des Garçons was amazing. Balenciaga was amazing. Prada was amazing. There was a kind of gentleness everywhere that was really nice. The collections felt really joyful without a load of floral prints…she says, wearing floral! It was a reaction against the arched silhouette of last season.
Does fashion excite you more or less nowadays than it did earlier in your career?
I like it more than I used to! When most people start out, they feel like they’re reacting against something. Then you get to this place where you don’t have to worry about what everyone else is doing, and you’re quite happy. I’m super lucky to work with the people I work with, and I know that.
Lastly, this dress! Backstory, please.
It’s from Vuitton next season; it started out as an innocent broderie anglaise. Then we blew it up and added tulle. And then, the proportion just got bigger and more cartoon-y. Then we added plastic flowers…then we added studs to the plastic flowers! Basically, this dress has every single layer we worked on through the collection.
Is it comfortable?
Yeah, yeah, yeah, it’s fine! Because there are no flowers on the back of the dress. It was kind of important to be able to sit in it.
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