ON THE STAGE | JASMINE "JB" BADIE

When it comes to watching your favorite entertainer, there are so many components that come together to bring their songs, performance, and personalities to life. Choreography is a major component! We sat down with Jasmine “JB” Badie who has worked with Sabrina Carpenter, Beyoncé, Rihanna, Ariana Grande, and Megan Thee Stallion to name a few!

We sat down with this noted Creative Director and Choreographer to find out about how she got into the industry, the importance of movement, her creative process, and more!

ATHLEISURE MAG: When did you realize that you enjoyed dance and movement?

JASMINE BADIE: I don’t know if there was one exact moment where I realized it. I think I understood the feeling before I understood what I could actually do with it. Music would make me see things — a certain sound could give me an idea, a character, an attitude, a whole visual. Movement eventually became the way I could get those ideas out of my head and make them real.

What’s funny is that I didn’t start out feeling like the strongest dancer in the room. I actually struggled a lot when I first started training. So my relationship with movement wasn’t built from, “Oh, I’m naturally great at this.” I had to find my own confidence in it, and I think that journey is a big part of why I create the way I do now.

AM: At what point did you realize that you wanted to be a choreographer and what do you love about doing it?

JB: I think I realized I had more to offer as a creator when the opportunity just kept knocking at my door. Eventually, I decided to walk in.

I’ve always believed you should wear as many hats as you can, get as much experience as you can and learn everything possible in the field you’re passionate about. Sometimes you’re so focused on one dream coming true that you don’t realize you’re also watering these other inspirations you never even knew you had.

That’s what happened for me. Dance opened the door, but through dancing I was learning so much more — about music, artists, performance, staging, storytelling and eventually what I wanted to create. Choreography became another way for me to use everything I had been picking up along the way.

What I love now is being able to see an idea become something real. Something can start in my head or in a rehearsal room and eventually end up on an arena stage, in a music video, or become a moment people want to recreate themselves. That’s still really special to me.

AM: Can you tell me where you trained and how you would define your style?

JB: My training was a little unconventional. I didn’t grow up in a studio training from the time I was three years old. When I started taking classes, I was actually SUPER insecure. Remembering choreography was hard for me and I would get in my own head about how I looked or what everybody else in the room might be thinking.

Once I moved to LA, I took as many classes as I could from different teachers and went to conventions like Monsters of Hip Hop. I wanted to learn, but eventually I realized part of my training had nothing to do with learning another step. It was learning to trust myself. Once I stopped looking around the room for validation, I realized, “Oh wait, I’m a performer.”

I don’t know that I would define my style by one genre. I think you can definitely feel where I’m from in my movement — Atlanta is always going to be in me — but I’m much more interested in how something feels. I like personality. I like groove. I like a little sauce. And I want the person doing my choreography to still look like themselves.

I also feel like if you have the ear for music and genuinely love the art form, you can do any style you put your mind to. For me, it’s less about putting yourself in a box and more about understanding the music, continuing to learn and being willing to stretch yourself creatively.

AM: Who have been some of the people that you have worked with?

JB: Whew! I’ve been blessed. Between my career as a dancer and my work as a choreographer and creative, I’ve had the opportunity to work with some incredible artists — Beyoncé, Sabrina Carpenter, Pharrell and N.E.R.D., Megan Thee Stallion, Ariana Grande, Missy Elliott, Cardi B, Tate McRae, Victoria Monét, Rihanna and so many others. The list really makes me stop sometimes and say, “Girl… look at your life.” LOL.

And I’ve been fortunate to experience this industry from different sides of the room. Being a dancer first gave me an education that I still use as a choreographer today. Working with so many different kinds of artists also taught me very quickly that there isn’t one formula for being great. I think all of those experiences helped shape the creator I eventually became.

AM: You are a creative director, choreographer, and creative architect behind Sabrina Carpenter’s most talked about performances. How did you connect with her and when you are working with someone, what is your creative process when it comes to bringing your visions to life?

JB: Sabrina and I started working together when I was hired to choreograph Fast Times. We started rehearsing in October 2021, and honestly, it was kismet from there.

We clicked FAST. We’re both Tauruses, so it was very much, “Ohhhh, you get it, get it, got it!” LOL. And she has the same birthday as my sister, which I’ve always found so special. There were just these little connections from the beginning. But beyond that, I saw soooo much for her. I saw possibility. I saw where we could go creatively, and thankfully she trusted me enough to go there with her.

My process now is very instinctual, but it’s also incredibly detailed. I pay attention to the person in front of me. I want to know what makes them comfortable, what makes them uncomfortable, what they naturally do well and what we can pull out of them that maybe they haven’t seen yet.

I’m also a HUGE movie buff, especially old films. I’m obsessed with raw cinematography — when something can be captured so artistically and delicately and then you pair that with good writing? Ugh, it fills me up. I think that naturally affects the way I create. I’m not just thinking about an eight-count. I’m thinking about what you’re seeing, what you’re feeling and what the whole picture is saying.

AM: How do you approach working with someone for a music video, a multi city tour, or an intimate performance?

JB: I think the biggest difference is understanding what each space is asking from you.

With a music video, I have the luxury of the camera. I can make something really small feel huge because I know exactly what you’re going to see. We can do another take. We can change an angle. We can catch that ONE little moment perfectly.

A tour is completely different because whatever we create has to survive. LOL. This person has to do it over and over again, sometimes for months. So now I’m thinking about the whole journey — where we’re giving energy, where we’re conserving it, what happens between songs, how the artist feels physically and whether the person in the very back of the arena is still getting a show.

And intimate performances are fun because you can let people come to you. You don’t always have to yell creatively. Sometimes a whisper is enough.

That’s really the challenge I love: figuring out how big or how small something needs to be without losing its impact.

AM: How important is fitness, endurance, strength, mobility, coordination, and recovery of the body when it comes to preparing women’s bodies for these incredible performances?

JB: EXTREMELY important. LOL.

What people see is the final two or three hours onstage. They don’t see everything the body has already done to get there.

Especially for women, we’re asking the body to do A LOT. Sing, dance, remember choreography, breathe correctly, run around a stage, sometimes do it in heels, change clothes in two minutes and then walk back out like none of that just happened. That’s an athlete to me.

So I don’t look at conditioning as separate from the performance. It is part of the performance. I want to know that when the lights come on, your body already understands the assignment. And recovery has to be respected just as much as training. You can’t constantly ask your body to give without giving something back to it.

AM: Where do you start when it comes to building a dance routine especially one that becomes a storytelling element to an entertainer’s arc that we can enjoy on stage?

JB: I usually sit with the song before I decide what it needs.

I want to know what catches me without forcing myself to find it. Sometimes it’s a lyric. Sometimes it’s something way underneath the track. Sometimes it’s literally a pause. And sometimes the thing that makes the most sense is not dancing at all.

Then I start asking myself what we haven’t seen yet. If we’re three songs into a show and I’ve already given you BIG, BIG, BIG, maybe the next moment needs to pull you in instead. I think choreography becomes storytelling when you stop treating every song like its own little island. Especially in a full show, I want one moment to lead you into the next. By the end, hopefully you didn’t just watch a bunch of dances — you went somewhere with us.

AM: As you have worked with so many people as well as creating iconic moments and dances from Ariana Grande, Beyonce, Megan Thee Stallion, Missy Elliott, Tate McRae, and Pharrell Williams to name a few — what are 3 performances that you are most proud of being part of?

JB: Oh this is MEAN. LOL. There are so many.

But right now, I would say Short n’ Sweet Tour first. Choreographing a sold-out arena tour is something I’m incredibly proud of. The amount of work and detail that goes into creating an entire show is completely different from creating one performance. Watching all of those pieces finally live together in front of thousands of people every night was very special.

Manchild would absolutely be another one. You create something in a room and hope people connect with it, but you can’t manufacture what happens after you let it go. Watching that dance go viral and then seeing it make its way into Fortnite was WILD. LOL. That’s when you realize something you made has officially left the room and belongs to everybody now.

And Sabrina’s Headlong performance at Coachella 2026. I’m just really proud of what we created there. Coachella gives you this huge canvas, and being able to create on that scale while still finding moments that felt specific was exciting.

And listen, I know you said three, but the BRIT Awards is getting an honorable mention because I LOVE that performance. LOL.

AM: How do you keep your body at its peak when it comes to being able to have the physical and mental resources needed to work with your clients?

JB: I play tennis whenever I can. I like that it gets my heart rate up without me standing on a treadmill staring at a wall thinking, “When is this OVER?” LOL. I’m competitive too, so give me a racket and now suddenly cardio is fun.

I also weight train with my trainer Oscar Cayetano. Strength has become really important to me because my work is physical even when I’m not the one performing. I can be on my feet for hours, demonstrating, rehearsing, traveling and then waking up to do it again.

Mentally, I’m still learning balance. I can get VERY locked into the work. So for me, taking care of myself sometimes means remembering that I am a human being outside of whatever I’m creating. Rest, getting quiet, playing tennis, watching a great movie — those things refill me too.

AM: What are 3 workouts that you do that we should consider placing in our fitness routines?

JB: I’m definitely a strength-training girl. I work my legs a lot because I need them! LOL. Squats are always in the mix.

I also focus on my arms and back. Push-ups are simple, but you feel them and you don’t need a bunch of equipment to do them.

And then core. Crunches, core work — all of it. I think having a strong center helps everything else, especially when your day requires you to be on your feet and moving as much as mine does.

So if we’re keeping it simple: squats, push-ups and crunches. You can do all three almost anywhere, so no excuses. LOL.

AM: How can choreography be a form of athletic training as well as building confidence?

JB: Anybody who thinks choreography isn’t athletic should come do a full-out rehearsal and then we’ll talk. LOL.

You’re using your entire body while your brain is doing ten things at once. You’re remembering movement, listening to music, thinking about timing, spacing, the people around you, your breath and what comes next. Then somebody says, “Again!”

But I think movement can do something even bigger for your confidence.

I know that personally because I wasn’t always confident in class. I used to worry so much about forgetting the steps or what somebody else thought about how I looked doing them. Eventually I realized I was giving everybody in the room more power over me than I was giving myself. When I stopped doing that, I found the performer in me.

SO yes, choreography trains the body, but learning to move without constantly judging yourself can train something else too. You start trusting yourself. And that confidence doesn’t have to stay in the dance studio.

IG @mssjb

PHOTOGRAPHY CREDITS | PG 90, 94, 100 Tommy Flannagan | PG 91, 97 Mason Rose | PG 98 COURTESY Jasmine Badie

Read the SEP ISSUE #129 of Athleisure Mag and see ON THE STAGE | Jasmine “JB” Badie in mag.

NYFW COACH SS27 + TANQUERAY GIN

NYFW kicked off its SS27 with a number of shows including Coach which took place on Sep 10th. They celebrated the 85th anniversary by presenting a collection of of slim and straight silhouettes. In addition the line includes loveworn materials and refined tailoring as well as inside-out construction. Of course, leatherwork is also an essential element of the collection and the brand. Creative Director, Stuart Vevers shared that, “for Coach’s 85th anniversary, I was thinking about memory and the way familiar things change as we live with them. I didn’t want to make a retrospective. We turned familiar Coach ideas inside out, exposed their construction, softened them and left traces of celebration on them. Having 85 years behind us gives us the confidence to look forward.” Attendees say archetypes that illustrate Vevers’ vision for Coach - trench coats, leather jackets, tuxedos, bias-cut dresses, and Western boots.

Prior to guests watching the runway show, they were able to read the collection notes as they sipped on Coach 85 (Inspired by Coach’s 85th anniversary, the COACH 85 is a vibrant, effortlessly polished serve that feels like the cocktail equivalent of a new-season runway look. Fresh pink grapefruit and lemon bring a bold pop of color, Tanqueray London Dry Gin adds an elegant finish. Bright, sophisticated and just unexpected enough, it’s the perfect accessory for taking you from front row to afterparty), an anniversary cocktail made with Tanqueray Gin. Post the presentation, guests were able to enjoy a continued party for Coach Club 85. Tanqueray Gin partnered with Coach as the official sponsor of the runway show and afterparty.

You can see the runway show here as well as to read the collection notes. You can also make these cocktails at home!

Tanqueray Coach Dirty Martini

*Makes one serving

Ingredients:

• 2 oz Tanqueray London Dry Gin

• 0.75 oz Olive Brine

• 0.25 oz Extra Dry Vermouth

Garnish: 1 skewered olive

Glassware: Martini Glass

Method: Add all ingredients into an ice-filled cocktail shaker and shake. Strain into a chilled martini glass, garnish with skewered olive.

Coach 85

*Makes one serving

Ingredients:

• 1 oz Tanqueary London dry gin

• 2 oz freshly squeezed pink or red grapefruit juice

• 2 oz French Aperitif Wine

• .5 oz elderflower liqueur

• .5 oz freshly squeezed lemon juice plus 1 inch lemon peel OR 3 dashes lemon bitters

Garnish: Long grapefruit twist, to garnish

Glassware: Coupe

Method: Add all ingredients into an ice-filled cocktail shaker and shake. Strain into a coupe glass, garnish with a long grapefruit twist.

PHOTO CREDIT | Tanqueray Gin

THE 9LIST HOLIDAY VIRTUAL EVENT | SETA APPAREL'S CREATIVE DIR., ANDREA SALAZAR (Copy)

Watch our THE 9LIST Holiday Virtual Event with SETA Apparel’s Creative Dir., Andrea Salazar. We loved seeing her line and artistry as she competed in Prime Video’s Making the Cut hosted by Tim Gunn and Heidi Klum!

Our Co-Founder/Creative + Style Dir of Athleisure Mag, Kimmie Smith chatted with Andrea to talk about how she got into fashion, her creative process in creating the line, competing on the show, what we can expect from it, showcasing curated NYE looks that we can wear just in time for the ball to drop, and what we can expect with the brand as we head into next year.

Read the latest issue of Athleisure Mag.

THE 9LIST HOLIDAY VIRTUAL EVENT | SETA APPAREL'S CREATIVE DIR., ANDREA SALAZAR

The week before we head into the holiday season has quite a bit going on and we’re excited that our THE 9LIST Holiday Virtual Event with SETA Apparel’s Creative Dir., Andrea Salazar. We loved seeing her line and artistry as she competed in Prime Video’s Making the Cut hosted by Tim Gunn and Heidi Klum!

On Dec 21st, from 12pm - 12:45 ET, our Co-Founder/Creative + Style Dir of Athleisure Mag, Kimmie Smith will chat with Andrea to talk about how she got into fashion, her creative process in creating the line, competing on the show, what we can expect from it, showcasing curated NYE looks that we can wear just in time for the ball to drop, and what we can expect with the brand as we head into next year. We’d love for you to join us and you can sign up here (or click the invite above) and you’ll be able to get details on how to connect to the event.

Read the latest issue of Athleisure Mag.

NEW YEAR, N3W YOU

Read the DEC ISSUE #84 of Athleisure Mag and see NEW YEAR, N3W YOU in mag.

THE SCIENTIST OF MOVEMENT | TANISHA SCOTT

This month's cover is 3X MTV VMA nominated Creative Director, Choreographer, Performance Coach and dancer, Tanisha Scott. You've seen her iconic work as a choreographer with Sean Paul in Gimmie the Light and has continued to work with an array of artists from Beyoncé, Rihanna, Lil Nas X, Drake and more. She currently serves as Creative Director for Lizzo, Cardi B and H.E.R. A number of videos and performances that she created have become part of major cultural moments in Hip Hop and those movements have found their way into memes, Tik Tok videos and on an array of dance floors.

Her ability to bring her love of dancehall, freestyle and knowing what is natural to the body transcends her work for music videos across genres, touring and award show performances. We talk about her love for dance, getting into the industry, those she collaborates with, continuing to add to her skill sets and how she continues to leave her mark.

ATHLEISURE MAG: What was the moment that you realized that you fell in love with and wanted to dance?

TANISHA SCOTT: Honestly, dance has been part of my life and I can literally say this without it being cliché – for forever. My parents are Jamaican , my father loves music and he was actually a DJ on the side – not just house parties, but he would go out with his friends and spin. Before I was even born, music was all around within the family. I knew it was something that was super special to me not only because of my shadow – my brother, my sister and my dad playing, but I just knew how much it helped me feel good. It helped me to really open up. I’ll tell you this, when I was really, really young, I had an issue with stuttering and I found that through dance, I didn’t have to speak that much and I can speak through movement and I can express myself and people would smile and laugh and would want to dance too without me having to actually say something and feeling insecure about it. I knew I loved dance and that dance was actually a part of me and a very important part because of that journey. I didn’t realize that until I got older and saw that it actually made a difference for me in my life.

AM: That’s amazing. You were a background dancer for Mya when you first started. How did you transition from being a dancer to a choreographer and adding that to your body of work?

TS: Yeah, reluctantly, I can say that I didn’t want to call myself a choreographer for about a year after Gimmie the Light happened. Gimmie the Light happened because my dearest closest friend, Director X (DMX What’s My Name, Sean Paul Gimmie the Light, Drake Hotline Bling) is also from Toronto. He and Taj Critchlow who is his longtime manager have been so close to me! He didn’t ask me to choreograph the video, he told me I had to! I fell into it, I was scared out of my mind not knowing what to do because I felt that I was a freestyle dancer and that’s all I knew – how would I put moves together for other people? He just told me to figure it out. It wasn’t until I reached out to my mentor, Luther Brown (Janet Jackson Dammmn Baby, Lizzo Juice, Ozuna BAILA BAILA BAILA) who is the king of Hip Hop and stepping in Toronto and he mentored me and a bunch of other kids. It wasn’t until I reached out to him and let him know that I didn’t know how to choreograph and how would I do it? He broke it down to me and said what I would do especially is go to the mirror, figure out some moves, see what looked good on me, put it on some people and make sure that it looks good on them and there you go – from the basic aspect of it.

I choreographed the music video and I was like it’s not going to be much. Sean Paul was singing this song which was older at the time when it came out in North America. Being of Jamaican descent, you know that we’ve heard this song for forever. So it was like, I’m going to do this video for Sean Paul – yes. It wasn’t anything that I had to think of when it came to the movement because it’s what we did in the clubs, in the basement parties so I put all of our moves together and felt how it should flow – did the video and that’s it. Nobody knew that Gimmie the Light was going to blow up the way that it did in North America! No one had any clue of it. That’s how it happened and then before I knew it, people were like, you need to get this choreographer. I would say, the dancer, because I danced in that video but I didn’t feel like a choreographer – so reluctantly it happened – blame it on X!

AM: How does your love for dance, dancehall and being from Toronto inspire and infuse your work?

TS: Oh gosh, I think the reason why it inspires my work is that it’s the only thing that I know innately that I wasn’t taught to do. I was not taught in any kind of professional dance when I was younger, we just did dancehall because I come from a Jamaican lineage, music is all around and that’s what we’re going to do right? I just dance the way I knew to dance where it’s already in my blood. So that, no matter what project I do, you’ll always find a piece of it. I find that my choreography is organic and authentic. I don’t do traditional movement for anything that is cool or in, in style or whatever the trend is. I literally follow suit to what the music calls for. If it’s dancehall, then I’m going to give you dancehall, if it’s Hip Hop, I’m going to give you Hip Hop and if it’s something else, then I am going to give you that. I attribute that to the fact that I am a freestyler where I actually watch and I pickup visually a lot easier and do things that makes me feel good in my body as if I’m about to freestyle as opposed to putting together a segment of moves that are regimented in a specific style or technique of a dance. So I think that that’s how I get to flip flop. You’re always going to get a little piece of dancehall, but at the same time, I’m a battler at heart so if I see somebody do something, I’m going to do it and do it better and that’s the way that I choreograph.

AM: I like that and that’s why it’s authentic because you’re freely leaning into fluidity because that’s what you’re feeling.

As a choreographer, what are you looking for when you’re working with an artist or maybe someone who isn’t even a dancer – is it hard to work with someone like that who doesn’t dance, but they’re going to need to dance for that video? How do you go about that process of making that story and making them feel comfortable and let them dance?

TS: You know what? Would you believe me if I said that I actually prefer artists who don’t dance?

AM: I would actually understand why you would like that because you don’t have to breakdown or have someone unlearn what they do and you can just flow!

TS: Exactly! It’s for this one main reason, they end up becoming a little more fearless in what they do. Because I’m not a trained dancer, I understand the fear or being unsure of how to move, what to do and what looks good. Because of that, I find it very easy to look at someone and tell what their strengths and weaknesses are. I work with both to create something that is signature to them.

For instance, Kelis and Bossy – her whole walk thing, Rihanna obviously with her hips, anything that I do with any artist – Alicia Keys with her walk how she does it to the side and plays the piano with the side – using one hand on the piano but doing it while leaning – it’s so much more interesting to create something that is signature to that person.

Honestly, anybody can choreograph – literally. It’s just a series of movements together to express whatever you want to express. Some people just want to have trendy moves, some people want to tell a story, some people are just a little more intrinsic with their movements – there are an array of things. What gives me joy is working with artists and giving them their own signature imprint so that the choreography is not a Tanisha Scott choreography that so and so is doing. It’s what Tanisha Scott has created that is based off of this artist and that it is an imprint so the dancers look like them, they move in a certain way and that’s what I find more interesting is working with someone from the core and being able to build from the ground up – who are you, what is your persona, what is the zhuzh, what is the story that you want to tell. That is more intriguing and satisfying!

Now, artists that can dance, the palette is open – let’s try tap, let’s do jazz, silks – there is an array of things! What pulls at my heart strings where I just become the scientist of movement, is when I’m like, “ooo this will be amazing” and then you see them blossom, it means the absolute world to me. That is much more fulfilling.

AM: Love that! Going back to Gimmie the Light video, what do you think it is about this video that after all of these years, that reaction is still there? The feeling is still there. Since that video, we have seen tons of amazing things and technologically there are different things, but the song and visually there is that feeling that you still get when you see it. How does it have such staying power?

TS: I’ll tell you something, I feel that it’s because it is so organic and it’s so freeing like you can’t even explain or break it down to how everybody moves in that music video. It was just captured in the right way and it was just a vibe! Like, you can’t fuck up a vibe! Like you can’t not feel a feeling – you know what I’m saying? It wasn’t technical at all! It was just people moving and grooving in a way that was just something that felt good naturally in your body that connected to the music perfectly. Individuals captured it and it made it cool. It was swaggy, it was fun! You had PonyTailz doing the Spidermen, you had Dainty Crime which was a crew of guys in there jumping up and down, it was entertaining. It also didn’t feel like you couldn’t do the moves. Everybody at home wanted to try because it felt like, “oh I think I could do this.” That’s what makes it so good and continues to be so.

It’s like YMCA, everyone can do that and you want to jump in – that’s what I think it is.

AM: I think so too and conversely, we were on set shooting one of our covers and Hotline Bling came out. I hadn’t seen the video yet and we’re all prepping for the shoot and I was asked if I had seen the video. We’re watching this video and I knew it was Director X, but the vibe had elements of Gimmie the Light as well. Of course, I find out that you did that and I can see why I felt those homages to the other video. What was it like being on this project and obviously another Toronto connection – and it was fire!

TS: Yo, Hotline Bling, what made it so special from the beginning is because it was Director X, who had me involved and of course, it was Drake. I remember Drake saying, I need that Tanisha Scott/Gimmie the Light moment. So, I’m like, “let’s do it brother” and I had previously worked with him before. He said he just wanted to let loose – almost like not taking anything too seriously and to just move and vibe. So I was like, let’s go – literally. What made the video so amazing is of course it was beautifully shot, but it was that synergy once again. It was the visuals, it was X's understanding what it takes, it’s Drake that’s part of it. Let me tell you one thing, that man has his finger on the pulse of not what’s new or next, but 2 slots or 4 years ahead. He knew more than anybody, he knew that this was something. He is so smart and he said, let’s just vibe and we had fun. We freestyled and we literally just had fun on set joking around and it became what it became.

Who would have seen me coming up with dances that actually became a meme, people are doing it and it’s a signature Drake move! It was a blessing because I’m working with my friends and we’re honestly friends where we trust each other so much that there’s no micromanaging of anything. It’s like, I’m going to do this and this makes sense to this and it makes sense to that – so let’s do that. Then Drake is like let’s do this and we just made it happen. So trust and just going with your gut and not just doing things that you think is right or what someone else thinks is right.

AM: Well once again, it’s just beautiful and it will be 20 years from now where there will be those relevant elements that have a different vibe in respect to Gimmie the Light but it still has that warmth –

TS: That simplicity.

AM: It’s so simple and I do love an over the top production as well, but I also like when things are paired down and you can focus. No matter how many times you watch it, there’s something that pops up and it just figures that you were involved as well!

So it’s always fun to see your work as a dancer and a choreographer but it’s interesting to see you as both in the same project. Does it feel like a balanced moment when we get to see you as both the dancer as well as the choreographer?

TS: That to me – being a dancer during doing something that’s choreographed, unless I’m freestyling – doesn’t really feel good. But, if I’m on camera choreographing doing what I do, that feels balanced. But if I’m dancing, I can’t perform to my best when I know that I have choreographed for other people are around me and I’m looking for where they are in their space. I’m still thinking as a choreographer as well as what is my artist doing and I feel like I’m cheating – it doesn’t feel good. Because when I dance, I zone out and I let go to be free. In that moment, I’m not on guard. When I’m choreographing and I’m on camera doing choreography or creative, I feel like I’m at home. I’m able to not just express what it is that I do and get the job done, but I want other people to learn as well. There are other levels to creative direction and different aspects of it as well as even for the dancers. There are a lot of things that we can do because the longevity of a dancer is not that long so you have to think of other things to do that can still play into your love of dance – you don’t lose it, but you just evolve.

AM: You look at a person like Debbie Allen who she can still –

TS: I mean queen, queen, queen!

AM: You just look at her and even when you watch her in something that she isn’t dancing in like when she is in Grey’s Anatomy, she has a flow to her movement that when she crosses over to the other side of the room, you’re transfixed!

TS: Preach Kimmie!

AM: I love flow and it doesn’t just exist in dance, but when you see those who are dancers and they still have that style in other portions of their life, it’s beautiful to see! You can tell the flow and musicality that some people have even when there isn’t anything being played.

TS: She doesn’t know this and I never met her but she is such an inspiration.

AM: She’s amazing! She has that eye and you know she’s watching.

There are so many videos where your fingerprint has graced those productions and moments. How is that for you to do it from a video standpoint versus being on someone’s tour with Rihanna versus doing something for TV like the BET Awards? Do you have to think differently Awards? Do you have to think differently for space or just the mediums that are being used?

TS: I do and I’m glad that you asked that question. I think that that’s what keeps me excited because it’s not the same thing over and over again. It allows me to stay on my toes.

So when we breakdown for a music video, a music video has edits and the primary thing about a music video is centering around the artist. So if there is choreography involved, it’s for a specific section. I always have enough dialogue with the director understanding what the environment is – are we dancing in a box, dancing on platforms, dancing on a wet floor, what are the costumes, what is the vision and go from that. I choreograph in sections that I know will be used. If you were to choreograph the whole song, you already know half of that isn’t even going to be seen or used unless the artist is in it. But even so, there are different things that we have to see. That’s one way and how I deal with music videos.

When it comes to tours, I have to now consider not just what the director of the music video is shooting, the type of frame that it is – is it overhead, is it specifically for the camera. With a tour, I choreograph for the naked eye. The naked eye means the expansion of it – it’s entrances and exits because we see everything. You can’t control what one person is seeing when you have thousands of people watching. So it’s the beginning of the song, the ending of the song and how the next song comes in. So it’s the thread that I use and the bigger purpose and I also choreograph the movement for me which is never little. It’s always a lot bigger because I tend to choreograph for those in the nosebleeds that aren’t so close – they have to have some kind of entertainment so that they can see and feel it and you have a successful show.

For an awards show, it’s a hybrid of both. I actually prefer the awards shows because I get to hone in on the director portions that I went to school for about 6 months at the NY Film Academy to learn music video directing. Not so much to be a music video director, I wanted to know how to choreograph and to speak to actors, actresses and dancers and to know what different frames were so I could be better choreographer. So I get to hone in on that when I am creative directing and choreographing the awards shows, I’m able to set the tone – the feeling of this is The Wiz so it’ll be different colors here and there, we have a yellow brick road and we formulate that. Now, how do we put in the choreography into it – this person enters here, that person enters there. Ok great, now with the camera, what do I need to see first? I need a close up shot of the artists walking on the yellow brick road and now I add a steady cam with a 360 turn to a smaller lens where I see 1 person pop up and then the next. We then go to a jib for a wide so I get to utilize everything that I have learned to put together a piece which hopefully, my next dream or chapter, is to be able to do Broadway. That to me is everything from when I do these awards shows because I get to think outside of the box and actually create a real piece. I have my hands in all aspects from set design to lighting – it’s everything to tell what that story is for what I want in that moment.

AM: I really like getting that insight and I expected a lot of what was said, but I really liked hearing about the hybrid environment of an awards show that is a defined box but still a little more open versus other areas. To hear your process in how you work that makes me think of our photoshoots where we’re creating that set, bringing in the team, sketching out the moodboard, bringing in the styling etc to create this concept. So by the time I arrive to the actual set day, I have played so many things in my mind for those hours.

TS: Prep is no joke!

AM: For sure! At some points as you’re actually seeing it all together, you feel like it already happened because you were so immersed and bringing it life in every way.

TS: Oh my God I swear, I think we’re twins!

AM: When you’ve seen videos that you’ve done that have been given various awards, obviously a video is the culmination of what you’re doing, the talent, creative teams, director etc – with all those things coming together and showing everyone’s versatility and work – what does it mean to you to have that award given to a project you were involved in?

TS: I feel so accomplished, so much more than even if I were personally receiving it for myself. When people hire me, I sign a contract in the air – it’s not a real one but it’s where they trust me to deliver to the best. When they are awarded, the team is awarded and/or the video is awarded – I know that I have done my job and that I have gained the trust. I know that what I set out and put out to do happened. I’m definitely a woman of my word. If I say I’m going to show up, I show up. If I say I am going to make something happen, I’m going to make something happen. With these videos, it’s definitely a collaboration – you have a director at the helm, but nothing is independent from one another. The gaffers, the stylists, the stage PAs, like we’re working and a lot of times, you don't know these people and you have never worked with them before, so you have to get on board and have the same common goal. When that’s achieved and it’s achieved with an award at the highest point, I feel so much more pleased with the job because it’s good and then It’s onto the next! It’s all about hurry up and wait and then on to the next.

AM: So with everything that you have done from a video perspective, you’ve also done other things from campaigns to commercials to even working outside of the genre of Hip Hop. You’ve extended the multi-hyphenate nature of your work beyond creative director, dancer and choreographer, but also performance coach. What is a performance coach as you worked with Sarah Jessica Parker for her campaign with Intimissimi.

TS: Ok Kimmie, I like you, I swear you’re asking all the questions. Ok, so a performance coach is involved when there are no specific movements given. But it is having somebody portraying the emotion that they want them to portray through their body through movement. So it can be anything that you do, but it’s just narrowing it down to 10 beats. Now they have the freedom to choose which beat they want to use at this time. They may switch at another time. But it’s always showing you the vein or the box that you need to be within. Like, here are all the treats, you have 20 treats and this is the box. It allows them to be more individuals in that sense.

AM: That’s very interesting. I think it’s great to have those that are multi-hyphenates because they are able to pull from a range of skill sets and that it can be applied to a fuller spectrum so that you’re able to do more than one thing and you have longevity in other places too. The touchpoints that you have crossed by being able to take those skills and to work with George Clooney and large brands etc – it was interesting to see the research and how you have really optimized your talents and why it’s important for people to do more than just one thing.

You’ve been the creative director for Cardi B and H.E.R. which is amazing and what does that role involve for those that may not know what that means in this part of the industry?

TS: I work very closely with both of them and Lizzo is a new client of mine as well in this role. I basically sit with them and it starts off with a conversation about what it is and how they want their music and themselves to translate visuallly numbers that we wanted to add in. It was only supposed to be 1 episode and it ended up being more and it just happened that way.

AM: We saw her recent hosting and performances on SNL. Were you involved in that choreography?

TS: Yes!

AM: Loved it!

TS: It was cute right?

AM: I was watching it and was like, that’s her too.

TS: Yaaas! I did that and I did the creative for it. You know, it’s a new album, it’s going to be a dope album and really good. She is singing, the vibe is so fun – it’s funky. So we’re like, what do we do? SNL is one of the most iconic running shows in the world and I’m like we just need to have people hear and listen to the song. So instead of making a big dramatic set, let’s keep it simple, but golden and sparkly with lights. We just needed to give what the song gives. It was good and a good time and with her hosting too!

AM: Such a fan of her work but to have her hosting and performing on SNL while her series is streaming on Prime Video was amazing.

We’re living in a number of moments right now and in this body inclusivity time we’re in to give space to everyone that has an interest and the talent to do so, I think Lizzo’s show to have someone such as yourself who has worked with so many people to work with these women, really drives home the point that it’s not cool to identify those based on their race, gender, sexuality, body type etc and to dismiss them from opportunities where they can be present and own their gifts. This show is a great way to draw awareness to the opportunities that do exist for people.

TS: I love that! To me, what am I doing this job for – for what? When I think of what my legacy is, I just want everybody to have an opportunity and a moment to have what they want to have and then it’s up to them to continue with it. So give people the tools to be great to do what they want. It’s literally limitless. You’re right, it’s not cool to tell someone that they are not the right look for something. If you have the capability and the chops to do something – absolutely you should. Who is making the decision to defining what the perfect look is for something that is specific. You can have it in your box for what you do, but it should never be generalized.

With the girls, I said listen, we’re going to open up this door and you need to kick it down because I can only do so much for you. There is that aspect of being real and of course, it’s a sisterhood and we’re not here to put anybody down. We’re here to motivate and to uplift but at the same time, I’m very real and I know the kinds of circumstances that I have been through. I’ve been the dark-skinned girl where there was no makeup for you so before for those young kids that didn’t know, there was nothing. So I’d come in with my hat down low because X is calling me and Hype is calling me and telling me to get to set. I’m the first one in the makeup chair and the last one getting my makeup done. So, I’d put on a hat so that no one could see that I didn’t have makeup on. Or the fact that I’m chocolate, you can only have 1 of the 4 girls in the audition that will be chosen. Half the time that I’m auditioning, I’m like, "hey girl, hey girl” who is it going to be this time – well you got the last one so I’m going to be picked this time. You know what I’m saying? I’m not a Size 0 so having to get sample sizes was never the thing so my outfit was always the other outfit. My butt is big. Not being a trained dancer, I couldn’t do pirouettes, leaps and jumps. To this day, I still put myself in class learn and I am in beginners’ classes.

I’m not afraid to learn and that’s also what I tried to teach the girls. You control what happens to you in your life. Regardless of what people want to say and doors that have closed. We have all heard the stories about what happened to Tyra Banks and getting so many doors closed and then of course look at her now. We’ve all had that! But you have to keep pushing and once you push and that door opens, then you have to make sure that you stomp so hard that your foot is cemented into the ground and that they cannot deny you.

That’s what I got, I said don’t look at my face, I put my hat down, I didn’t need makeup, I’ll be there on time, I’ll wear my own outfit – I wasn’t doing choreography, so I was doing freestyle and every time out of those 100 music videos that I did, I freestyled that. I made sure that every single time I freestyled that I would get a standing ovation that would make them clap to make myself memorable. People would say, who was that girl that did this or who is that girl that did that and that’s how I made my mark. I think that that is the reason that I am where I am now because of all the no’s, I took them like a champ and I’m not saying that I never cried or wanted to give up, but I just kept going and every time there was an opportunity, I just said yes and let me figure it out when I get there.

AM: Tell me about the B Project campaign with Good American.

TS: Ok, yaaas! That was so fly to me Baroline Diaz is a VP of A&R at Interscope Records. We had never met before and she reached out to me and a few other women in her network that she didn’t know but admired and wanted all 12 of us to be part of her campaign. It was strictly for boss women that were self-made who didn’t have anything easy but are doing their damn thing. She just wanted to celebrate us and to be able to recognize others. Honestly before I even met her, I thought this sounds fire and when I met her, we had dinner and had some drinks and I’m like, “you are like everything that we need as a network for women that really do truly empower one another.” She doesn’t just say it, she lives it. We even have a chat that we still everyday talk with one another. Baroline is on it! She’s on our Instagram and our socials and she lets us know about so and so who does this and we say, “yes.” Or someone will say that they have something and will ask to get our addresses and they send it out. I’m going to help out someone else in the group with one of her artists. There are a couple of people in that group where we’re all super connected and we’re going to work with each other and help lift each other as well. There are just a lot of convos that go on in the group chat whether we’re helping one another out, sending scriptures or just getting projects going. It is such a great good sisterhood and it’s such a great campaign that I was able to be part of!

AM: It feels like you’re someone who is always flowing from one project to the next project or maybe it’s 80 projects that are all running at the same time! What do you have coming up that you are able to share that you’re excited about?

TS: I can share 2 things – 1 halfway. I am doing something with Disney and in NY so that should be cool! It’s kind of like wowzers and then another thing that is coming soon is that I’m working with Tom Holland and Sasha Lane on this Apple+ TV show, The Crowded Room. I can’t give anything away with this show, but I am so excited! I have the BET Awards coming up with Lizzo! H.E.R. right now is on tour opening up for Coldplay as well as her own tour. I did the creative direction for that. And working with Coldplay too!

AM: Saw that, I’m a huge Coldplay fan. I was like look at her rocking more spaces then just her spaces!

TS: RIGHT! And then Lizzo’s tour is coming and we’ll be announcing soon!

AM: In looking at other things that you have done, I know that at one time you were the choreographer for the Brooklyn Nets Kids dance team! How long were you with them and why did you want to do be involved in this?

TS: I started once Barclays opened up and the Brooklyn Nets became a thing. So I started working with the kids for about 5 years and then I passed it onto the assistant of mine at the time only because I started traveling for work and I couldn’t physically be there! I actually got the job through Jay-Z and my friend who is one of the directors for the female dancer’s entertainment group. For me, I chose to work with the kids because honestly for me, it’s not work for me when I work with children. Because they’re so fearless and they want to try everything, because they’re always so ready to go – I get a lot from them. I just feel really good being one of their first teachers to show them direction on how to learn, how to be, how to respect choreographers, how to walk in and just being part of their journey and helping to help them find who they are whether they want to do this or don’t want to do this as a career. Whether they want to continue or not, to me, that’s the world. I love working with kids.

AM: It’s so important to have a positive influence for dance. I remember growing up that I started in ballet and tap at a really young age. I liked ballet and I remember that the teacher told me that due to my body type there wasn’t a place for me in that arena and that there weren’t any Black ballerinas and that I shouldn’t do it. So, we’re talking the early 80s, I didn’t do it and I just did tap instead. The teacher, I thought at the time, was super nice and I believed what she said.

So to have a teacher that makes sure that you feel seen and allows you to go after something if that is your interest without putting barriers up, made me think that what you did for those kids was amazing.

Now do we know if I would have really done ballet – but I know you shouldn’t tell a 3 or 4 year old that they shouldn’t.

TS: No that’s absolutely right! That shouldn’t have happened. You said it perfectly, we need voices that allow people to be seen and to encourage them and to let them know you’re good enough. You should hone in on what you have and what you want. Golly, you need a second opinion sometimes.

AM: I know! But it was back then, so I didn’t know that there would be a Misty Copeland that would come along and at the time and where I grew up, there was no reference. But it did make me realize from then on that when I would go in whatever space, I fought for myself and place there and if it was something I wanted to do, I would make it happen regardless of what was said.

You also worked for a program with the Block Institute for Autism. Why did you want to be involved in this?

TS: Because I realized that there are things that are bigger than me and that there are things that are more rewarding than the biggest celebrity and the biggest brand. Does it even matter if you can’t enrich the lives of those that are not seen. People are important and if there is a need and especially with dance and what it has done for me and how it makes me feel, I want to be able to work with and teach and empower those that are in my reach. When I got the opportunity it was through a friend of mine that I talked with who worked with the Block Institute. I asked what they did and he explained that they provide extracurricular activities and I asked about dance. He explained that sometimes they would go in the gym and I let them know that I would come in and help and I did it for 3 years.

Life is short. God gave me a gift and it’s not for myself and it’s not for the riches or the popularity – it’s to enrich and to give hope, love and acceptance to others. I’m not keeping this to myself. I don’t like to dance alone! I want everybody to come and dance with me! It was pretty easy and a very quick yes from me. I actually miss doing it and I do want to start something up like that again. I really really do and I just have to make time for it. Thanks for reminding me about it! It’s important.

AM: I liked seeing that. We have been covering various autism stories from Autism Speaks Gala which included noted chefs and Andrew Zimmern was one of the hosts of the night, his son is autistic. It was a beautiful gala at Cipriani’s downtown and then Prime Video has a series streaming now, ‘As We See It’ which focuses on autistic adults and how they engage in the world and their relationship to one another, their families and they aid. It showed the depth of what it means to be autistic and how that can be from one person to the other as it’s not a monolithic experience. So to have someone such as yourself to give of your time in addition to everything you do, to infuse something you love to them is pretty awesome.

TS: Thank you. I really need to do more and it’s not enough.

AM: You do what you can in the hours of a day and I have taken 1 24 hour clock and made it 72 hours!

TS: Ha yes you’re right – let me stop!

AM: So when you’re not doing projects, how do you take time for yourself to have a reset? Because when you’re working with so many people and playing checkpoint, you’re doing 72 hours in a 24 hour cycle and you’re being 25 people!

TS: I’ve never heard it so eloquently stated like that! I literally when I have that time and I’m searching for it right now, I drop everything and go to Jamaica. I’m gone – the beach, the sand, the air – that’s what I need. If I can’t get away, then I’m in my bed watching any type of reality TV – like Love Island!

AM: Have you watched The Ultimatum yet?

TS: I just started! Because I just finished –

AM: Love is Blind!

TS: Yes, I’m still in the first episode, are you watching it?

AM: I already watched it. I am a queen binger because that is how I decompress! I love reality shows for a number of reasons – obviously it’s interesting to be able to see the people, you’re seeing designers coming through and there’s a lot of education that you can learn from the area that’s being covered, regional knowledge, restaurants etc and to know that that’s not you watching it all go down! Because I’m here for the drama as long as it’s not my own!

TS: Yes, same here!

AM: Who are 3 people that assisted you to be where you are today in your career?

TS: Director X, like I said, I’ve never met her before but Debbie Allen. She mentors me from afar there are things that she has done that are just so impressive. I’ll also say, my closest friends that are like my family and my brother and sister. They’re always like, how did you do this – this is great – keep going! Do t his and do that. They also ignite my fire. They give a lot of reassurance from them.

IG @tanishascott

PHOTO CREDIT | FRONT + BACK COVER, PG 18, 21, 26 Carey Bradshaw | PG 22, 25, 29, 30, 32 Courtesy Tanisha Scott | PG 35 + 36 Amazon/Watch Out For the Big Grrrls | PG 39 Ali Page Goldstein/HBO Max | PG 40 HBO MAX/Legendary | 9LIST STORI3S PG 180 Mohamed Sadek/GapFit |

Read the APR ISSUE #77 of Athleisure Mag and see THE SCIENTIST OF MOVEMENT | Tanisha Scott in mag.

READY ON SET WITH FABIANA PASCALI

If you haven't watched FX's American Crime Story: The Assassination of Gianni Versace, now may be the time as there are a number of our favorite actors in this Ryan Murphy series. We caught up with Fabiana Pascali who plays the role of the Female Senior Designer to the house of Versace. Fabiana had some common ground with the great designer, shares how she prepared for her role, let's us in on her favorite spots as well as what it's like to be Creative Director of her line, Thinking Panties! Continue reading to find out about this dynamic show and make sure to catch up on this series as we find ourselves talking about it to a number of our friends who are looking for a new show to embrace.

ATHLEISURE MAG: How did you get into acting and what was the moment that took place that made you realize it was for you?

FABIANA PASCALI: As a child, I was quite the creative extrovert. It was always easy for me to get into character and give my family fictional performances. During middle school and high school, I was always involved in theatre. It was only after quitting dentistry school at 19 that I got offered to audition in an all-girls music group. I made the cut and joined the group! It was then I knew showbiz would be part of my life.

AM: Tell us about shows/movies that you have been in?

FP: Most of my career is based in hosting and commercial work, with shows airing at to local, national, and international community. I’ve had the pleasure of more than twenty years doing
what I love.

AM: You are currently in American Crime Story: The Assassination of Gianni Versace where you play the role of “Female Senior Designer” that worked with Gianni in the House of Versace, and who was also one of the right hands of Donatella! How did this part get offered to you, what was the process of getting this part and how did you prepare for this role?

FP: My theatrical agent, Jaime Ferrar, called saying he had a high-profile audition I should read for. Casting was looking someone to play an Italian designer. That’s all we knew. I had no idea what show it was or what it was about, let alone who were the actors involved! Looking back, the secrecy surrounding the audition was tight!

Preparing for the role was a bit different, given I knew little about the character or what I was reading for. I rehearsed, read the description of the character, and dressed by my gut instinct.

AM: In playing this character, you already had connections to the subject matter as you are a Creative Director of Thinking Panties, you're half Italian and your husband came from the same province as Gianni - how did that assist you in taking on this character?

FP: As you said there a number of commonalities with my character. When I booked the job and learned more about the character, I laughed because who they were describing was me! Speaking Italian didn’t hurt either! It gave me an insight into how to best approach the character. It’s much easier to bring a character to life when you can get inside their head!

AM: Tell us what it was like to film this TV show especially working beside Penelope Cruz, Ricky Martin and Edgar Ramirez?

FP: It was a phenomenal experience to be part of a series of this magnitude. What can I say?! Seeing my name on the call sheet along these giants makes one feel accomplished!

Most of my scenes were alongside Penelope [Cruz], who plays the role of ‘Donatella Versace’, which was a bit humbling. When Ricky [Martin] was playing ‘Antonio D’Amico’ (lover to Gianni Versace), he completely blew me away! All of them are completely cool-headed professionals that were an absolute pleasure to work with and learn from!

AM: Were you a fan of Versace prior to coming into this program and how was it to be immersed within this opulent world?

FP: Absolutely! I have always been a huge fan of Versace!

AM: The world of Versace is a different lifestyle than most everyone experiences.

FP: The fashion world is worlds away from everyday life. The life of Versace, the man and the brand, is an experience onto itself. You’re taking a world that’s in the limelight yet veiled from
prying eyes, then translating that into a show. In a way, it’s imitation of Versace. Talk about poetic.

AM: Tell us about Thinking Panties!

FP: I founded Thinking Panties in 2011 as a line of underwear with a fun concept for the creative type who wants to personalize everything. All you need is a marker and your imagination! The
idea was to give someone’s inner artist a chance to flourish and even be a fun gift to give someone.

You can find get a pair direct from www.thinkingpanties.com

AM: Where are your favorite spots to work out, grab a drink and eat and to shop in LA?

FP: I enjoy hiking in the mountains, with some go-to trails in the Arroyo Seco between LA and Pasadena, as well as those in Hollywood and Griffith Park. I love the feeling of releasing endorphins, breathing fresh air, and enjoying the warmth of sunrays touching my skin.

When it comes to the restaurant experience, I’m pretty biased (lol). Of course, I prefer Italian and Argentinean foods. If you’re going out for Italian, try Bestia in the Arts District, Terroni in Downtown, Eatalian in Culver City. For Argentinean, Carlitos Gardel near West Hollywood, Malbec and 1810 Argentinean in Pasadena.

To grab a drink I head over to visit my cousin Guillermo Zapata, owner of SUR Restaurant & Lounge, in West Hollywood.

Where do I shop? Everywhere, really! I always find great pieces of wardrobe at Anthropologie and Free People. There are a bunch of different boutiques and department stores around town I frequent. There are just too many to list!

AM: What is your personal style when you're running around LA, heading out to brunch and when you're heading out to meet your agent/go on a casting/do a table read?

FP: I love wearing a good pair of jeans and nice t-shirts/blouse with a leather jacket on top. Depending on the occasion, I’ll throw on boots, pumps, or Converse. I keep my color palette fairly neutral.

AM: What projects do you have coming up that you can tell us about?

FP: I’m currently focused on new design projects. A big part of me is always coming up with ideas in my design studio and seeing where it naturally progresses. There’s some hearsay on going back to TV hosting, which I would love to do.

AM: What ways do you give back to the community or provide philanthropy?

FP: For every pair of Thinking Panties purchased, I give another pair to women in need. Much like Tom’s shoes, who matches a pair for every pair purchased. I provide these to local shelters,
women’s organizations, and missions.

I also donate monthly to institutions such as St. Judes Children’s Hospital, Food for the Poor, Wounded Warriors, and Operation Smile.

I believe just a little help given with love can make a difference. If we all did a little, it would add up to a big change!

Read more from the Feb Issue and see Ready On Set with Fabiana Pascali in mag.

PIERRE HARDY | THE MAN OF DESIGN

Pierre Hardy is known as a phenomenal designer who sees dance in his interpretations of design whether he creates shoes and accessories for Hermès, a number of his notable collaborations and of course his namesake collection, Pierre Hardy. His love of dance, design and teaching is felt immediately upon any conversation with him. 

His career includes being an illustrator for Vanity Fair Italy and Vogue Hommes International, designer of women's shoes for Christian Dior, becoming the Creative Director for Women's and Men's shoe collection, as well as the Creative Director for the Fine Jewelry division of Hermès (he still maintains these roles with the brand), collaborating for over a decade with Nicolas Ghesquière for the women and men's collections at BALENCIAGA - and this is just the quick highlights. 

In addition to his coveted roles in the above, in 1999 he launched his own shoe line for men and women and at that time he also collaborated with a number of brands, including 3 shoe capsule collections with GAP and he partnered with NARS for a capsule collection of nail polishes and blushes.

We talked with Pierre to find out his thoughts on designing the smartwatch band for Apple Watch, what his process is like when he is designing, what it was like to launch his own namesake, his relationship with various design houses and the importance of sneakers.

ATHLEISURE MAG: You have designed with Hermès for a number of years and have created iconic prints as well as pieces for the house. What was it like to have the opportunity to create the watch, band?

PIERRE HARDY: It's a very narrow field because I just did the bracelets and leather bands. My mission was to think about what you can do with the band for the smartwatch. What was interesting for me as a designer was to link technically the watch with a high-end leather good - to make them work together. In the beginning, I was a little trepid wondering if this was a good idea - but I was wrong. In the end, it worked so well - for both of the brands I believe! The combination and perfection of how it came together and in working with the team in Paris and to have that time together was interesting.

AM: Will there be other wearable designs in your future?

PH: I believe it was just that one, but I would not say no if they asked me!

AM: Throughout your career, you have collaborated with many designers, what was it like working with them?

PH: First as a point of clarification, I would say that my position with Hermès is not a collaboration, it's more like my second house. We've known each other for such a long time now. When we came together, it was immediate and there wasn't a hierarchy. I was and am happy to be a part of the success of that house. The same can be said in working with Balenciaga. It fit and I liked, as a designer, the experimentation of what we created and it was very different as a designer.  

AM: It seems that when you design with these coveted houses that you are in a state of translation. 

PH: Absolutely, I always look to transform things into different shapes - something visible, tangible and sensible. Something you can enjoy. I'm always looking to understand as a means to design into the pieces that you enjoy. I'm always searching for something new and better. I love the pleasure and satisfaction that comes from the work.
 

AM: How did creating your own line come about?

PH: At that time, I had designed with Hermes for about 10 years and wanted to create pieces that there wasn't a place for them in my work there. I came  to the realization that I would have to create them in another space. I decided to launch 15 models in my living room and I called the press and said, "I've made some shoes, would you like to see them?" I was lucky because it worked for me!

AM: What were you looking to achieve with this line? 

PH: I was naive when I first came out with my line. Looking back at the initial offering, it was a bit rough. When you start something on your own it's so different. The American press was very enthusiastic - it was not the same in France. Neiman Marcus came and bought the first collection - miracle. I told myself that if I sold 1000 pairs of shoes I would be happy - I sold 3000! But when I first started my own line, the idea was there, but the quality wasn't there yet - we were just starting out. I started the line because I wanted newness. People look to the past to recreate but I want to do so in a new way!

AM: You're known for designing heels, bags, and jewelry, but you also design sneakers! Sneakers are on trend - do you think it will continue to evolve?

PH: Yes I design sneakers especially for men! The lines between sneakers and shoes is a blurred one now. It's one of the shoes that women have to wear now - it's our lifestyle and the way we go about our lives! You don't have to think about it and you wear it to be more comfortable and it's a key fashion item nowadays. The main thing to note about them is it's youth. It's the best shoe to wear to look younger! You win 10 years - I'm not kidding! Youth his very important and the feeling of young age is dynamic and filled with energy. I love wearing sneakers! It comes from your memory of college, efficiency, sport, dynamic speed. All of this together - makes you better!

AM: What's your favorite color?

PH: Black - I think everything is beautiful and better in black. The only color I like is red. Black is more of an efficient and theatrical color. It's physical and optical. Anything on a black background looks better and more obvious. Even my home is all black.

Read more from the June Issue and read Pierre Hardy, The Man of Design in Mag.

COLLABORATIONS | COACH & RODARTE

Who went online or visited a number of boutiques that dropped the COACH & RODARTE collection which is a limited edition capsule collection that includes a number of leather handbags, jackets, dresses and even yummie sweatshirts that are perfect for transitional weather when we're running to brunch or getting necessary errands out of the way. This artistic collection combines both of these iconic houses together as a means to put a twist on the classics and to see leather craftsmanship in a new way.

"Rodarte's conceptual approach to American style was the perfect lens to reimagine nostalgic Coach pieces," Stuart Vevers, Coach's Creative Director stated. "The mash-up of influences resulted in a romantic cool collection that feels right for both houses." Kate and Laura Mulleavy of Rodarte were able to design handbags which is not found in their line and was brought forward in this collaboration. 

The line includes rocker styles in black as well as neutrals from soft blends to creamy leathers. There's something for everyone to make it easily worn in whatever style you rock from day to day.

GOOD MORNING, MICHAEL

Michael Strahan is a true New York icon. We had the pleasure to chat with him about his new athleisure line, MSX by Michael Strahan; where we can see him next; and how he remains on top. We also caught up with Stuart Billingham, JCPenney Creative Director for Men's Private Label for more on the collection.

ATHLEISURE MAG: - Stylish active lifestyle sounds like a great ethos for you, you’re always looking good on-the-go – what’s an average day like for you?

MICHAEL STRAHAN: There really isn’t an “average day” for me. Every day is so different, especially during different seasons. For example, during football season, I’m traveling from New York to Los Angeles for NFL on FOX. On days that I’m on Good Morning America, I wake up around 5:30am. My afternoons are always different. Sometimes I’m taking meetings with my management and production company, SMAC Entertainment and other times I’m doing activities that I enjoy, like playing golf! I’ve been spending a lot time working on my athleisure line MSX and my clothing line Collection by Michael Strahan.

AM: When did you first decide to jump into a companion line for Collection by Michael Strahan?

MS: I had a lot of fun creating Collection by Michael Strahan with JCPenney and I realized that in addition to great tailored pieces, men also need comfortable, stylish clothes that can be worn anytime. MSX by Michael Strahan is inspired by my active lifestyle and provides men trendy, functional pieces that can be worn everywhere. I call it my EveryWEAR for everywhere. And best of all, it's all priced for a great value. I'm really excited to be part of what's happening in the overall athleisure movement and I'm excited for the future of MSX.

AM: Why do you think athleisure wear has become such a movement?

MS: The way people are living these days has changed. People are on the go much more than ever before. Wearing a comfortable, yet stylish tee and pants is not for lounging, it's for living! To be able to go throughout your day and not feel over or underdressed in any situation is crucial and that's where athleisure comes in.

AM: “Everywear for everywhere,” that’s catchy, what assortment does MSX currently offer?

MS: The line offers a wide range of clothes for every part of life. The chino pants are one of my personal favorites because they can easily go from the office to the golf course. Also the Henley three button shirts, the v necks and an assortment of short options. 

AM: What is it about MSX by Michael Strahan that makes it optimal for workouts and tackling tasks of the day after the studio/gym?

MS: The breathable fabrics are made to keep you cool and comfortable all day, when they are paired with the no-chafe stitching you’ll stay comfortable the entire day.

AM: Style, comfort and performance are key for activewear, what advanced technology and comfort features does MSX by Michael Strahan have?

MS: Every piece in the line has hidden details. We have the no-chafe seam details to keep you comfortable while you are moving or the UV protection so you will be protected all day long. My favorite details are the secret pockets. For example, I’m a golfer so I wanted the chino pants to looks stylish, yet be functional. We kept the left back pocket open so you can easily slip in your golf glove between swings and included a zipper on the right back pocket to keep valuables like wallet and phone.

AM: What are some of your must-haves that you keep in your secret pockets?

MS: I keep all the essentials in my pockets - money clip, keys, and sometimes my phone…when it’s not missing! haha

AM: Run us through some of your favorite routines when you’re in the gym. Have you carried over a lot from those grueling football practices? Do you take any studio classes to round out your training?

Pictures of Michael Strahan in athleisure attire, courtesy of JCP

MS: I usually work out for an hour 5/6 days a week. I don't do the same workout I did as a football player. Now I do exercises that are more conducive to mobility and flexibility. I still lift weights, but the exercises and amount that I lift are definitely different.

AM: What are some of the jams or artists that are your go-to’s for your workout playlist? Anything new you just started listening to?

MS: I listen to Bill Wither’s “Lovely Day” every morning before work. It’s the best way to start the day! I’m a creature of habit. I like to work out to Hip-Hop. Whatever's hot I listen to.

AM: How do you stay on top of daily nutrition, what are some of you favorite meal combinations and snacks that keep you lean and mean? What is that one irresistible treat item that you just crave and enjoy?

MS: I eat a lot of fish, chicken and turkey and fresh vegetables without the butter and other things that add sneaking calories into my diet. I have protein smoothies and hard boiled eggs along with nuts as well. I have a weakness for chocolate in any form so I do crave chocolate chip cookies and ice cream, but I only indulge occasionally.

AM: You are an inspiration for work ethic across the board, what does “being 100% present” mean to you?

MS: It means waking up happy and putting your best foot forward each and every day. A good friend of mine always says “dress shoes.” It makes me laugh, but I like the meaning behind it because it’s about “putting your best foot forward…and if you’re going to do that, you should literally be putting your best foot forward". I have to remember to put away the phone and stay in the moment. That's a hard test for everyone in this age of technology, but it really helps you to stay present if you can do it.

AM: Your best-selling book, “Wake Up Happy: The Dream Big, Win Big Guide to Transforming Your Life” shares a lot of personal stories and advice for personal ambitions and going from good to great. What is a tip or two to be on top of one’s game and keep on track in active lifestyle?

Photo (P.41) courtesy of Jerry Coli. Photo

MS: I draw upon the power of positive thinking often. Developing a routine always helps to keep you on track. And most of all, just remember to encourage yourself and give yourself a break if you need it. Don't be so hard on yourself if you're not perfect because none of us are.

AM: Hello Stuart, thanks for joining us. Tell our readers a bit about your background and how you came to be Creative Director, Men’s Private Label at JCPenney.

STUART BILLINGHAM: I have been in the industry for 15 years, both in the European & US markets, working on a variety of product ranging from surf/skate, outdoor, heritage and fast fashion. JCPenney was an amazing opportunity for me to work with a highly talented team and immerse myself in a number of different lifestyles through the amazing private labels exclusive to us here, including Arizona, Xersion and of course MSX by Michael Strahan.

AM: What are some of the lines that you have been able to create with personalities?

SB: MSX by Michael Strahan was the first line I have had the opportunity to collaborate with a major personality like Michael, so this idea of working with someone who had a strong idea that they wanted to bring to life was super exciting. 

AM: How did the collaboration with you and Michael Strahan come about and what is the process that goes into creating a line such as this?

SB: JCPenney and Michael have been working together on our suiting line, COLLECTION by MICHAEL STRAHAN so it felt natural to find something to balance that – with MSX we wanted comfort and performance attributes, but we didn't want to make it feel like a performance line. We want guys to wear it everyday, to integrate each piece into their lifestyle.

(P.142/143) courtesy of Frank Jansky/ZUMA Wire

AM: How was it to work with Michael?

SB: Michael was heavily involved in the design process and showed so much foresight when it came to the product. He has great vision and is obsessed about the details like I am, so we had fun geeking out over new ideas.

AM: What are some of the inspirations behind the line?

SB: This is Michael Strahan’s second apparel line with JCPenney and we pulled inspiration from his personal style and his active lifestyle as a father and one of America’s most recognizable athletes and media personalities.

AM: We hear Michael says “everyone should get one of each,” where is a good place to begin to jumpstart their wardrobe with some core essentials?

SB: The true core of the collection comes in our performance jersey styles. Anyone can build on our tees offered in crew neck, V-neck or sleeveless muscle, all with our no-chafe seam details and quick drying technology, so you will be comfortable all day. We also have great layer-ups in fleece and 4-way stretch fabrications that offer great outfitting capabilities.

AM: What are additional styles that will be in future collections?

SB: Together with Michael, we are continuing to evolve the line with new product, and have some very exciting things coming for the MSX collection for Fall 16. Stay tuned.

Photo (144/145) courtesy of Lev Radin.