[kimair]

part two...

I loved the look of Vitals. You've been reunited with your design director Paul Ritter at Elle. What major changes have you instituted in the look of the magazine?
We did the major redesign last September. We're constantly evolving for no other reason than we're always bored with ourselves and we always want to be better than last time. We want to be more unpredictable and exciting. Robbie, Paul and I always want things to be moving forward. We've done the huge drastic change -- now, it's the constant evolution of what that is.

At Elle, how do the responsibilities of a creative director differ from a fashion director? You are senior to the fashion directors, right?
Yes, they report to me. I'm responsible for all the visuals in the magazine, cover to cover. I have a lot of input into which celebrity we put on the cover. The big thing I did when I got here was change the roster of photographers and stylists we use, and really sort of take it to the next level -- bring the glory back of what used to be. People keep referencing the old '80s Elle to me. They loved it. I find a lot of inspiration in that, but I didn't want to do a magazine that was completely referential or retro. We do those touches now and then, but we really have to do what the next look is.

Speaking of fashion directors, were you surprised at the amount of coverage of Nina Garcia's departure?
I don't know if surprised is the word. It was at a time when it was all about Project Runway. It has a really strong following. There was so much business press about the switch from Bravo to Lifetime, it was a topic that was top of mind. Her departure just added a footnote to all the stories and fuel to the fire. I'm not shocked about that aspect. I'm more shocked that I didn't know we were so interesting.

When did the comings and goings of a staff at a fashion magazine go beyond getting covered in WWD and move to Page Six?
It was in People! That's what I was shocked by, because people come and go daily. I've been doing this 20 years, and it was never like this. I think it was the timing, and that it was an interesting footnote to all those stories about the networks and the future of the show. [Garcia] is part of the show, and it was no different than if Michael Kors was doing something. They would have covered that extensively, as well.

Have you spoken to her since she left?
I haven't. I think she's been on holiday. She's editor-at-large here. She's starting at Marie Claire in the fall.

So now you're Elle's latest reality star. What was your first reaction when they approached you about doing Stylista?
' The mechanics of the show were up and running prior to me coming to Elle. Robbie was like, "Come in and have a meeting with these guys." When I did, it sounded like an interesting concept, and everything rolled really quickly. When they asked me to do the show, I said, "Sure." Robbie has been really smart about this. She's like, "We have to constantly reach out to new people" and that's what television is about -- allowing you to reach a whole new group of people. I'm happy to help out with the magazine in any way that I can. It's been fascinating for me, as a television junkie, to break down the fourth wall and see how it all works.

Tell me about your role.
My participation in the show is minimal. I'm a judge. I only needed to come every third day. The shoot was four weeks. We usually did it after work, in the evening. It didn't really affect my work day. It was easier for me because I don't need to show up early for hair and makeup.

Anything about the experience take you by surprise?
At the beginning, it was a little trial and error. [For] the first two episodes, we were there until 4:30 in the morning -- it was all new. By episode[s] three and four, they really nailed it. There were times when we were out by 7:30 or 8:00 p.m. and I got there at 3:30 pm. They were on it. The only shocking part was [how] everything happened so quickly. You're watching these shows and you think it's a longer period of time, but everything just really happens fast.

[TV] shows have done a lot to democratize fashion. The average person knows -- or at least thinks he or she knows -- a great deal about the industry. What's the most common misconception you've dealt with?
People think my life is really glamorous. I meet many people who are not in my world, and they think all I'm doing is running to a fashion show, then a movie premiere, and then I'm having dinner with Julia Roberts. That almost never happens. It's a very small part of my job. [These shows] make it look glamorous, but not for one second do I think that's [how] doctors act when I watch Grey's Anatomy. I don't think every cop looks like Mariska Hargitay. You have to understand it's a certain level of entertainment. As long as people are aware of the industry, that's great.

What did you learn in the earliest stages of your career that's still relevant to what you do today?
My eye and my taste level. My first job was working for Polly Mellen, and she really taught me how to see and appreciate fashion. She had the strongest work ethic. For me, that's very important. The other part is, I've worked for Linda Wells, Patrick McCarthy and now I work for Robbie Myers. These are three bosses I want in my life if I had to re-pick them all over again. They understood the value of the person they hired. They never micromanaged and they let you do your thing. I've learned never to micromanage my staff and let them do their best.

What do you consider your greatest accomplishment to date?
I'm proud of a lot of things I've accomplished in my career. Definitely working with all these incredible, world-renowned photographers that I admired all growing up (Bruce Weber, Annie Leibovitz) was a highlight, and that also includes doing one of my first-ever styling jobs with Richard Avedon. Definitely conceiving and launching Vitals. And of course, watching Elle evolve now is great to see.

Biggest disappointment?
My biggest disappointment is probably that Vitals didn't get a chance to really take off. I'm so proud of the staff that worked there, though. We were a small but dedicated group committed to the project and nothing else. They've all gone on to have amazing jobs right now. But I think the idea of Vitals just came around at the right time where that idea of unapologetic service married with luxury and design really resonated with some people. Occasionally I see influences of it still in other magazines. But I'm also not nostalgic about the end of Vitals, either. It was a good notch on the timeline.

How would you say you've gotten to where you are?
No sleep. Dedication. Passion. Loving what I do every single day. Being serious, but not taking it serious[ly] at all.

Do you have a motto?
I don't take no for an answer. Polly Mellen taught me that.