Tagged: deal man

Gigi Hadid, Zayn speak to the gender fluidity of fashion: ‘It’s fun to experiment’

Covering Vogue’s August issue, Gigi Hadid and Zayn Malik don what was once thought of as menswear — button-up, collared shirts underneath blazers.

But members of the power couple, who previously posed for the magazine in Naples, believe clothes don’t have a gender.

“I shop in your closet all the time, don’t I?” Hadid asks her singer boyfriend, according to the fashion magazine. “Yeah, but same,” Malik acknowledges before bringing up an Anna Sui shirt he borrowed. “I like that shirt,” he says. “And if it’s tight on me, so what? It doesn’t matter if it was made for a girl.”

His supermodel girlfriend concurs. “Totally. It’s not about gender. It’s about, like, shapes. And what feels good on you that day. And anyway, it’s fun to experiment. . .”

View image on Twitter

.@GigiHadid and @zaynmalik star on the cover of our August issue! Read the full story here: http://vogue.cm/RrRxR3M 

She adds, “It’s just about, ‘Do the clothes feel right on you?’”

“With social media, the world’s gotten very small,” says Malik, “and it can seem like everyone’s doing the same thing. Gender, whatever — you want to make your own statement.”

Gigi Hadid has proven many times over that she’s a pro at unexpected hair makeovers. USA TODAY

Hadid also opened up about her relationship with Malik while fielding Vogue’s “73 Questions,” describing his most romantic gesture. “A couple years ago on Valentine’s Day we went on a boat trip,” she said, “and it was really nice.”

She also confirmed her beau also spends time in the kitchen, defying archaic gender norms. She says his chicken and sweet corn recipe is “like a hug.”

Five Tech-Savvy Fashion Labels To Watch From Asia

In a world where technological advancements are rapidly evolving, fashion – a multi-billion-dollar industry – is not about to shy away from innovation.

While there is much allure and satisfaction to be found in the old school, traditional way of designing clothes, there are a small group of designers who are breaking the mold, determined to mesmerize consumers with novel and futuristic creations. Ultimately, the future of fashion is about to be more than just simple textiles and serve more than just the typical purpose of clothes.

With everything from interactive fabrics to 3D printing, specialized lighting and utilitarian wizardry to serve us in this brave new world, here are 5 cutting-edge labels in Asia who’re spearheading this fashion tech frontier.

Ying Gao – China

Ying Gao's dress has pins that moves when triggered by ambient sounds.

Ying Gao

Ying Gao’s dress has pins that moves when triggered by ambient sounds.

The China-born designer, Ying Gao, attended university at the Haute École d’arts Appliqués in Geneva, Switzerland and pursued a Master’s Degree in Multimedia at L’Université du Québec, where she increasingly focused her design efforts on merging style with technology.

Her range of interactive apparel is crafted in such a way that they respond to different elements in the environment – including sounds, gaze and the human presence. For instance the moment she saw how dressmaker pins made certain sounds when being moved on a fitting mannequin, she was inspired to create a dress where the pins moved in a similarly fluid motion when triggered by ambient sounds.

Besides creating these impressive sound-activated garments, Ying Gao has also dabbled with eye-tracking technology and apparel that interact solely with human presence. Her experimental and out-of-the-box ideas merge technology with style, and are always intended to wow audiences.

Junya Watanabe – Japan

Charge your smartphones on-the-go with this nifty coat by Junya Watanabe.


Charge your smartphone on-the-go with this nifty coat by Junya Watanabe.

Apprentice to Rei Kawakubo, founder of the label, Commes des Garçons, Junya Watanabe can be heralded for his impressive use of innovative fabrics and textures. Through fabric manipulation, Watanabe effectively translates futuristic ideas into wildly creative designs earning him the title, ‘techno couture’ designer.

With a keen focus in synthetic and technologically-advanced materials, it’s safe to say his collections are always hotly anticipated each season.

Take, for example, one of his most talked about innovations – a solar powered trench coat that provides on-the-go charging for a smartphone, created for his Fall/ Winter 2016 collection. Not only is the coat innovative in concept, it also serves to address a very real modern day problem – fueling a constantly drained smartphone.

Issey Miyake – Japan

Issey Miyake’s innovative 3DStretchSteam utilizes stretchable threads that react to steam. (Photo by Patrick Kovarik/AFP/Getty Images)

As one of the early pioneers of incorporating technology in garments, Japanese designer, Issey Miyake is one to watch. Whether it’s creating an entire collection from one roll of cloth to textile technology, the 79-year-old strongly believes in the many possibilities tech has to offer the fashion industry.

One of the brand’s latest innovations is the 3DStretchSteam, which is a type of fabric that contracts into 3D patterns when exposed to steam. Creating this involved computer software that calculated the composition of different cotton and polyester weaves. The result is origami-esque clothing that gives the illusion of being folded by steam. 

Despite being a strong supporter of technological innovation, Miyake toldCNN that he still aims to “combine [fashion] with traditional handcrafts, and in fact use technology to replicate dying arts so that they are not lost.”

Vega Wang – China

Vega Wang's captivating luminescent designs.

Vega Wang

In a mystical blue hue, Vega Wang’s captivating luminescent designs were oddly mesmerizing.

Coming from a family of electronic engineers, the Beijing-based designer, Vega Wang is no stranger to technology. For her senior collection while at Central Saint Martins, she was inspired by the creatures in BBC’s Blue Planet documentary series to create luminescent designs by usingelectroluminescent technology. The project also offered an opportunity for her to stay close to – and collaborate with – her parents.

Wang’s design aesthetic carries a bold, distinctive charm that is visually captivating and speaks volumes of the sheer creativity and intricacy involved. Alongside her unique interpretation of the human form, geometric shapes and cultural references, she has developed an impressive following in the field – a worthy achievement in and of itself.

Melinda Looi – Malaysia

Inspired by birds, Melinda Looi's 3D designs

Melinda Looi

Inspired by birds, Melinda Looi’s intricate 3D designs were the talk of the town.

Though the Malaysian fashion designer doesn’t incorporate technology in all of her collections or designs, Melina Looi was a key part of the team behind Asia’s first 3D printed fashion show. Working in conjunction with a Belgian-based additive manufacturing company, the show featured 5 avian-inspired works – from a skirt, to shoes, cape, necklace and wedges – which took a team of 6 to 8 people months to complete.

From this, Looi has found a new love for marrying fashion with technology while still creating a collection that is very natural and organic.


The End of an Era: Colette to Close Its Doors

PARIS, France — Colette, the renowned Parisian boutique, is closing down after 20 years.

“As all good things must come to an end, after 20 wonderful years, Colette should be closing its doors on December 20 of this year,” the company said in a statement. “Colette Roussaux has reached the time when she would like to take her time; and Colette cannot exist without Colette.”

Saint Laurent is in talks to take over the Rue Saint-Honoré location, the company said. “Negotiations are under way with Saint Laurent and we would be proud to have a brand with such a history, with whom we have frequently collaborated, taking over our address,” the statement read. “We are happy of the serious interest expressed by Saint Laurent in this project, and it could also represent a very good opportunity for our employees.”

The boutique was founded in 1997 by Colette Roussaux, and has been led by her daughter Sarah Andelman in recent years. Andelman also shared the news in a post on the Colette Instagram account this morning.


Andelman is famed for her discerning fashion edits and quirky mix of lifestyle products that have turned the store into one of Paris’ premiere fashion pit-stops. Drawn to an eclectic mix of high fashion and edgy street labels alike, Andelman regularly showcases designs from up-and-coming designers and was one of the first to stock collections by Proenza Schouler, Mary Katrantzou and Rodarte.

The three-storey, 8,000-square-foot space is a veritable destination for fashion fans and consumers. It sells everything from niche film camera to accessibly-priced souvenirs and T-shirts, and was the go-to for exclusive launches of brands, special products, independent magazines and the fashion incarnation of the Apple Watch.

Though Saint Laurent is set to take over Colette’s address, the relationship between the two companies hasn’t always been friendly. In 2013 Colette carried about 300 “Ain’t Laurent Without Yves” parody T-shirts, following Hedi Slimane‘s decision to change the company name from Yves Saint Laurent to Saint Laurent. Saint Laurent’s commercial director demanded that the shirts be removed from Colette’s online shop, and its chief executive sent Andelmen a letter “accusing her of selling counterfeit products that ‘seriously damaged’ the YSL brand and confirming the end of their business relationship.” Andelman, who sold the remainder of the offending t-shirts in-store but not online, said at the time: “We have been excommunicated.”

The wide range of products, including kitchenware, jewellery, books and toys made the retailer a location for multiple generations. “It’s the only shop where I go because they have things no one else has,” Karl Lagerfeld told BoF last year. “I buy watches, telephones, jewellery there — everything really! They have invented a formula that you can’t copy easily, because there is only one Colette and her and Sarah are 200 percent involved.”

Colette is also known for its combination of high-end ready to wear and streetwear, making it one of the first to embrace the fusion of luxury fashion with an edgy street aesthetic. “We started to work with people like Virgil [Abloh] before he started Off White, as well as OAMC’s Luke Meier when he came from Supreme, and with the whole wave of designers like Hood By Air,” Andelman told BoF last year. “At a certain point it didn’t make sense to have them on the ground floor anymore, so they went up with the designers.”

From around the clock dining in the Water Bar to a plethora of book signings, concerts and even panel discussions on sneaker culture, Colette’s status as a hub for genuine cultural “happenings” helps to sustain and propagate the store’s buzzy atmosphere, accented by the Givaudan-designed fig scent that wafts throughout the space and onto the street.

Earlier this year, H&M revealed a collaboration with Colette. The ‘H&M Studio x Colette’ line is expected to launch on 21 August and will be stocked in-store and online at Colette for two weeks, along with selected pieces from the main H&M Studio AW17 collection.

“We’ll launch the H&M capsule on 21 August,” she says. “And of course nothing change with our ‘Le Relais’ projects with Les Vacances de Lucien, Sacai, Thom Browne, Chanel and Saint Laurent on our first floor.”

Andelman says that colette.fr will also close and that she will be focusing on “turning the page.”

A former art student and Purple magazine intern, Andelman established Colette in 1997 alongside her mother Colette Roussaux, after whom the store is named. Andelman and Roussaux lived above the store.




London Fashion Week Switches Up September Schedule



ALL CHANGE: What a difference a day makes.

The British Fashion Council is singing the praises of the CFDA, which has agreed to leave a full day between the end of New York Fashion Week, and the start of the London showcase.

For the first time in a long time, editors won’t have to climb on to the red eye to London after the final shows end in New York. Instead, New York will wrap up on Sept. 13, and London Fashion Week will begin on Sept. 15.

“Hats off to the CFDA,” said Caroline Rush, chief executive officer of the BFC, which for years had watched as exhausted members of the fashion press skipped Friday’s shows altogether or slogged through the day half-asleep.

“The move will strengthen the Friday and also allow young talent to see buyers in London at 180 Strand,” the BFC’s official show venue and exhibition space, Rush said. The BFC is set to release the provisional September schedule on Thursday.

As reported, the five-day week will have an international flavor, with Emporio Armani staging a show at 7 p.m. on Sept. 17, followed by a party to mark the unveiling of the newly renovated Emporio Armani Bond Street store.

Last year, the designer showed the Emporio collection in Paris. The last time Armani showed in London was during his “One Night Only” event in 2006.

Tommy Hilfiger, meanwhile, will close London with a see-now-buy-now runway event that’s previously taken place in New York and Los Angeles.

Hilfiger will stage his TommyNow experiential runway event on Sept. 19, at 7 p.m. at the city’s Roundhouse concert venue.

In other news, Burberry has switched its show to Saturday night at 7 p.m. while Roland Mouret, who shows the following day, will be marking his 20th anniversary in fashion during the week. Nicopanda will be showing for the first time in London, at 6 p.m. on Saturday just before Burberry.

The showcase will open on Friday with catwalk shows by NewGen funding recipients Paula Knorr and Richard Malone, while labels including Shrimps, Faustine Steinmetz, Roberta Einer and Ashley Williams will also show on the day.




48 Hours in Paris with Proenza Schouler

Jack McCollough and Lazaro Hernandez, the designers behind the fashion label Proenza Schouler, have flown the coop. When we meet before their show, it is in a raw concrete space in the 17th Arrondissement of Paris rather than in their SoHo studio in New York. Next to a Levi’s store and a stone’s throw from Bloomingdales, their SoHo home base is quintessentially New York. And while their address in Paris recalls their usual show spaces — the galleries around New York’s arty Chelsea — you can glimpse the Arc de Triomphe from the end of the street. McCollough and Hernandez are not only Americans — they’re bringing a little piece of America to Paris, too.

This is Proenza Schouler’s first show in Paris since Hernandez and McCollough founded the brand in 2002. Hernandez, 38, and McCollough, 40, met while studying at Parsons School of Design in New York, and have called that city home ever since. (They’ve shown in places as classically New York as the Whitney Museum, the Met Brauer and even a gutted office space on Wall Street.) Their creative synergy is exceptional: They give quick-fire interviews in tandem, batting ideas back and forth and finishing each other’s sentences. Talking through their collection, they each grab at similar pieces — a dress in what appears to be jacquard, but is actually lace bonded to crepe; a feather-embroidered skirt; a squishy cubic mink bag; a low, heavily beaded pump inspired, they say, by the ones created by Roger Vivier for Dior in the 1960s. “They kind of make a crazy jingle when you put them on,” says McCollough; Hernandez obligingly shakes the shoe.

Why Paris, and why now? One answer is the impending launch of their first fragrance with the French cosmetics company L’Oréal, which is slated for early next year — and which they hope will kick Proenza Schouler into another level of global recognition. Maybe a pending Paris-based perfume launch is a bit too obvious (read: commercial) a motivation for showing on the other side of the Atlantic — at least for a designer to admit. Nevertheless, the duo allow that their near-constant trans-Atlantic commute over the past two years to refine the scent (which is still under wraps) allowed them to consider Paris as a place to show their collection. That was compounded earlier this year by an invitation from the Chambre Syndicale, the governing body of Paris haute couture week, to present as part of the official calendar.

More fundamentally, with this show, the designers are trying to challenge fashion conventions — namely scheduling. Ready-to-wear designers normally show fall clothes in February and spring clothes in September, and the clothes arrive in stores roughly six months later. But Proenza Schouler is presenting its spring/summer 2018 ready-to-wear collection during the fall/winter 2017 haute couture season. (Though the brand isn’t haute couture, the designers are taking advantage of the fact the members of the press are in Paris to attend the couture shows.)


McCollough and Hernandez outside of their venue, the Lycée Jacques-Decour, a working high school in the north of Paris, close to the Gare du Nord. The show venue is outside. “You walk in o this garden, a courtyard,” McCollough explained on Saturday afternoon. “A veranda that wraps around the whole thing. So it’s outside the show, but it’s covered. Hopefully it’s not raining.” It was — but it didn’t dampen spirits. Just the audience, a little. Credit Hugues Laurent

What it means on a practical consumer level is that these clothes will be delivered earlier — hitting stores around November — and will stay available for longer. The brand will do away with the concept of precollections and will, from now on, create only two collections a year. “We’re consolidating pre and main into one collection,” says McCollough. “Precollection is when the bulk of the business is done — so why not show the things we pour our heart and soul into?”

Accordingly, this collection has been a labor of love: Rather than the six month lead time normally afforded a spring/summer collection, the designers and their team pulled this show together in just four. (They also transplanted their entire Manhattan staff to a Parisian atelier, which is no small feat.) Bigger, perhaps, than the shift of staff is the change in mind-set it represents for the designers. “We didn’t want to necessarily have a couture feel,” McCollough says of the collection — couture being fashion shorthand for anything embroidered, embellished or generally worked. Yet in this collection, there is a feathered jacket that took a week to make, while other pieces are created from hand-embroidered flowers, crocheted ribbon and devoré velvet bonded with chiffon. There’s lots of very French lace too — the color palette is dominated by black, white and rosé beige, the color of pink champagne. “There is always an element in every collection you do that’s more work or more embroidered or put together,” McCollough allows, standing in front of Proenza Schouler’s feathered jacket. “I mean, just coming here…” He stops, and Hernandez picks up. “It’s impossible not to be influenced or inspired by coming out here and knowing you’re doing a show in Paris,” he says. “And what came before us, what we looked at, everyone that we’ve ever been inspired by. Growing up, historically, contemporary, everything that’s interesting to us, happened here. So of course there’s that weight on you!” He smiles widely.


On the day of the show, preparations begin several hours before the official 11 a.m. start time. Backstage, Hernandez lays out a number of knitted garments, which form a major part of the collection. “I was thinking of jellyfish,” he says, of the dense ruffled skirts in knit viscose. Credit Hugues Laurent

Cut to 48 hours later, and their runway show — which is held in the cloisters of a 19th-century high school that is still in use today — is already over. In one corner, Hernandez and McCollough are being mobbed by a crush of postshow well-wishers, including Glenda Bailey, the editor in chief of American Harper’s Bazaar, and Stefano Tonchi of W magazine. The New York designer Tory Burch leaps into the throng, dressed in a posy-print Proenza Schouler dress, and kisses the designers. “The Americans invade Paris!” she cries out. It certainly seems that way.



Vogue: Why ‘posh girl exodus’ continues at fashion magazine


A number of senior figures have exited the magazine in recent weeks amid reports that its new editor is making some staffing changes before he officially begins on 1 August.

Edward Enninful is taking over from Alexandra Shulman, who announced in January that she was leaving after 25 years in charge.

He is the first male editor in the magazine’s history, and is already making a few tweaks (or, removing “posh girls”, as The Times put it) to the senior editorial team.

Since his hiring was announced, Vogue veterans such as Lucinda Chambers and Emily Sheffield have announced their departure as Enninful gears up to bring in his own team.

But it hasn’t been a smooth transition so far.

Lucinda Chambers
Image captionLucinda Chambers was Vogue’s fashion director for 25 years under Shulman

Chambers, Vogue’s former fashion director, was one of the first major figures to leave.

And she did so in style.

“Lucinda has announced that she is to step down from her position,” the magazine delicately said on its website in May.

“A month and a half ago I was fired,” she said in a candid interview with fashion blog Vestoj, published this week.

“Truth be told, I haven’t read Vogue in years. The clothes are just irrelevant for most people – so ridiculously expensive.”

There’s more.

“Most fashion magazines leave you totally anxiety-ridden,” she said, adding: “We are always trying to make people buy something they don’t need. We don’t need any more bags, shirts or shoes. So we cajole, bully or encourage people to continue buying.”

Alexa Chung
Chambers said she wasn’t happy with a cover shoot she did involving Alexa Chung

The comments echo what Shulman herself said earlier this year.

“At the end of the day, very few people have to have another pair of trousers, another skirt, another bomber jacket, so what you are doing as an industry is creating desire,” she said.

Hilary Alexander, editor-at-large for Hello! Fashion Monthly and trustee of Graduate Fashion Week, says there’s an element of truth in Chambers’s comments.

“There’s no doubt there are too many clothes in the world, and the number of collections being pumped out month after month, you could spend the entire year going from one Fashion Week to another,” she says.

“But at the opposite end of the scale, fashion is a huge industry that employs millions of people across the world, it’s worth around £28bn a year in this country alone if you include the retail sector.”

Susie Lau

The departure of senior figures like Chambers is to be expected, says Susie Lau, fashion blogger and journalist.

“From an industry point of view, it’s completely normal for someone like Edward Enninful to come in and say he wants a completely new team,” she tells the BBC.

“Especially at the senior level, he would want to have people that he feels can push forward the new editorial direction, and I think it is going to be a very different tone and feel to what Alex did.”

Chambers appeared to be pulling no punches with her rather honest interview, but not long after it was published, it was taken down… and then put back up again.

“Due to the sensitive nature of this article, we took the decision to temporarily remove it from the site,” Vestoj said in a statement.

“In terms of the reasons why it was removed, they are directly related to the industry pressures which Lucinda discusses in her interview.

“As you know, fashion magazines are rarely independent because their existence depends on relationships with powerful institutions and individuals. We created Vestoj to be an antidote to these pressures, but we are not always immune.”

Alexandra Shulman
Image captionAlexandra Shulman is leaving Vogue after 25 years as editor

You can see why some figures in the fashion industry may not have been best pleased with the Chambers article.

At one point in the interview, she said: “The June cover with Alexa Chung in a stupid Michael Kors T-shirt is crap. He’s a big advertiser so I knew why I had to do it. I knew it was cheesy when I was doing it, and I did it anyway.”

But Lau says the close relationship between advertisers and journalists has always been a fixture of the industry.

“[Chambers] has been in fashion for so long, she’s worked for a magazine where the commercial concerns are hugely important, and that’s not anything new,” she said

“Advertisers are of course given precedence, and maybe creative control has to be sometimes compromised – but it was ever thus. That’s part and parcel of working in a print landscape that has undergone so many changes.”

Emily Sheffield's tweet: Congratulations to my sister Samantha, on launching her brilliant fashion label, Cefinn, exclusive interview in VogueImage copyrightTWITTER
Image captionDeputy editor Emily Sheffield, sister of Samantha Cameron, is another big name who appears set to leave the magazine

She adds that Chambers’s comments in the interview are understandable given how long she has spent working at Vogue.

“I think when you work in the industry you do become quite jaded. When you’re dealing with the mainstream side of fashion and doing it in a very commercially-minded way, it can get cynical.

“There are wonderful creative and brilliant things happening, but I guess if your day-to-day isn’t about that any more, that can wear you down.”

Vogue’s replenishing continued on Tuesday with reports another senior figure announced she was exiting the publication.

Deputy editor Emily Sheffield, who is also the sister of Samantha Cameron, said she was leaving her role as Vogue’s deputy director “after a very happy decade”.

She might not have updated her Twitter biog yet, but the invitations for her leaving do have gone out so we’re pretty sure it’s only a matter of time.

“Emily Sheffield was suggested as a replacement when Alex’s retirement was announced, so it’s only natural if you’re thinking you might get the top job and someone newer and younger comes in, that you would feel there isn’t really a place for you any more,” Alexander explains.

Edward Enninful and Naomi CampbellImage copyrightGETTY IMAGES
Image captionEnninful (pictured with Naomi Campbell) was made an OBE last year

Both Lau and Alexander are looking forward to seeing what changes are made to the magazine when Enninful officially starts as editor.

“I’m excited because he is a brilliant stylist, I think Vogue will be a lot more diverse, I think we can expect surprises and shocks,” Alexander says.

“Perhaps there will be more focus on younger, newer designers, those who are working in unusual ways. I would welcome that, you don’t want to constantly read about the same old faces.”

Lau adds: “I know some of the people going in there [to Vogue], they haven’t been announced yet but I think it’s going to be a really exciting team.

“It won’t be quite as different as people are painting it, but there will be changes. Vogue is a barometer of our times, and I think it will reflect that.”




Runway Debut! Coco Rocha’s 2-Year-Old Daughter Ioni Walks in Her First Fashion Show in Paris

Ioni James is already a star on the runway.

The daughter of Coco Rocha returned to Paris this week alongside her mom to attend a Bonpoint fashion show once more — but this time as a model herself.

Decked out in a white ensemble complete with matching flower crown adorned with baby’s breath, the 2-year-old proved she was following quite literally in her mom’s fashionable footsteps.

“Flowers in her hair 🌺 ♥️ My beautiful baby girl backstage at @bonpoint‘s ethereal garden show #BonpointSS18,” Rocha, 28, captioned an Instagram photo of Ioni ready for her catwalk debut.


Swan Gallet/WWD/REX/Shutterstock
Stephane Cardinale – Corbis/Corbis via Getty
Stephane Cardinale – Corbis/Corbis via Getty

https://www.instagram.com/p/BWK8EkbgYEC/embed/captioned/?cr=1&v=7&wp=500#%7B%22ci%22%3A0%2C%22os%22%3A11968%7D https://www.instagram.com/p/BWIlL9igIAR/embed/captioned/?cr=1&v=7&wp=500#%7B%22ci%22%3A1%2C%22os%22%3A11984%7D


Ioni’s Bonpoint debut isn’t her first exposure to the children’s wear brand. In January, the pair attended its Fall/Winter 2017 children’s fashion show, where the little girl wore a plaid coat, a wide-brimmed hat, black leggings and black boots all by Bonpoint.

“Taking @ioniconran to her very first Paris fashion show!” Rocha captioned a glamorous shot of herself and Ioni hanging out in January.

https://www.instagram.com/p/BWLIY6WgcsO/embed/captioned/?cr=1&v=7&wp=500#%7B%22ci%22%3A2%2C%22os%22%3A12000%7D https://www.instagram.com/p/BWKozjQAQkq/embed/captioned/?cr=1&v=7&wp=500#%7B%22ci%22%3A3%2C%22os%22%3A28125%7D

FROM PEN: Christie Brinkley’s Daughter Sailor on Following in Her Mother’s Footsteps

Christie Brinkley’s Daughter Sailor on Following in Her Mother’s Footsteps
Sailor Brinkley Cook is working to follow the lead of her mother Christie, and she is getting a good start with her appearance in the 2017 Sports Illustrated Swimsuit Issue


RELATED: She Got It From Her Mama! Coco Rocha’s 22-Month-Old Daughter Attends Paris Fashion Show Alongside Alessandra Ambrosio

Though Ioni’s interests are clearly fashion-oriented, her mom didn’t always think it would be that way. In February 2016, Rocha told PEOPLE “I don’t think so” when asked if her daughter would become a model someday.

“You never want to do what your mom does,” explained the working mom of one. “I keep saying she’s gonna be some sort of scientist. Something crazy where I just couldn’t help her in her maths or reading skills.”