In today’s issue:
How The Row’s secrecy has made it one of fashion’s most influential success stories.
What Mary-Kate and Ashley Olsen are really like as creative directors.
Why The Row’s clothes are so expensive.
Us Weekly recently relaunched under editor-in-chief Dan Wakeford, and commissioned me to collaborate with them on this week’s cover story about the Olsen twins. My reporting focused on their work on The Row. Ahead, I’m pleased to publish my in-depth look at how the Olsens manage The Row, and what they’ve done to make it so successful, for paid Back Row subscribers.
Days before The Row’s 2025 resort collection walked in Paris in February, staff learned that cell phones would not be welcome. Some invitees were not happy — attending a fashion show without being able to capture content is, of course, almost unheard of in 2024.
But the decision created even bigger headaches for The Row’s team.
Staff had traveled to Paris thinking they would be prepping the usual runway show. They then learned that in addition to doing all the work associated with putting on a show, the team had to execute a photo shoot of the new looks, which Vogue then published. Some models were photographed before the show, and others after. Getting them dressed and undressed accordingly, ensuring no makeup ended up on any of the looks, lengthened already an already exhausting week.
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