Stella McCartney Wants to Be Like Her Dad When She Grows Up – Unbuttoned: Linda Evangelista and the Fantasies Fashion Sells – The Most Dressed – It’s How You Wear It – The Public Life of the Kardashians’ Private Chef

Stella McCartney Wants to Be Like Her Dad When She Grows Up – Unbuttoned: Linda Evangelista and the Fantasies Fashion Sells – The Most Dressed – It’s How You Wear It – The Public Life of the Kardashians’ Private Chef


Dear Readers.

The TextileFuture Editorial Team has selected four features for you, allowing you an insight on careers and lifes.

The first feature gives am insight on the entrepreneur life of Stella McCartney’s beauty business and is also illustrated.

The second item is entitled “Unbuttoned: Linda Evangelista and the Fantasies Fashion Sells”. It is written by Vanessa Friedman from the New York Times and presents a sort of critical comment on an article published by Vogue, including some lovely captions.

The third feature is all about “The Most Dressed – It’s How You Wear It” and it is an actual insight view on what is worn by personalities in the USA.

The fourth item is giving you an insight on “The Public Life of the Kardashians’ Private Chef”, it is also about career and character of the person.

Wishing you a terrific week! May you be surrounded with numerous highlights!

Please don’t miss to read the next TextileFuture Newsletter in a week’s time! Thank you.

Best wishes to you personally and your families.

Your Editorial Team of TextileFuture


Here starts the first feature:

Stella McCartney Wants to Be Like Her Dad When She Grows Up

Her new luxury skin-care line made of 99 % natural ingredients debuts in a hypersaturated clean-beauty market. Will she be able to break through?

By guest author Lane Florsheim from the Wall Street Journal. Photography by Gabby Laurent for WSJ. Magazine.  August 25, 2022

Growing up, Stella McCartney remembers swimming in the loch at her family’s High Park Farm in Scotland, its temperature so cold she felt as if she couldn’t breathe. When she was under the water, the minerals in it seemed to glisten, bathed in rays of sunlight. When she emerged, her whole body tingled and her face would feel tight.

McCartney, now 50 and the creative director and founder of her namesake fashion brand, says her time on the farm was the inspiration that came to mind when she decided to branch into skin care. She was outside constantly, along with her three siblings and their parents, Paul and Linda McCartney. “It’s probably the cleanest I’ve ever felt,” she says, and the experience instilled in her a lofty goal: “It was like, God, if we can capture nature, that surely has got to be the best skin care in the world.”

Her new skin-care collection, called Stella by Stella McCartney, debuts on the brand’s website this month and consists of a cleanser, a serum and a cream moisturizer (USD 60, USD 140 and USD 105). Plastic packets made from renewable sources can screw directly into pumps or be removed from their frosted-glass housing for lighter travel. Buying only the refills saves customers between USD 15 and USD 30, depending on the product, and the first refill lowers the product’s environmental impact by a third, the second by half, brand materials state. The products have scent notes of clove leaf and pine resin, which were created in collaboration with perfumer Francis Kurkdjian.

It’s not McCartney’s first foray into skin care. A longtime advocate of eco-friendly practices, she launched an organic range in 2007, when her brand was with what is now called Kering. Called Care by Stella McCartney, it was a collaboration with YSL Beauté, subsequently purchased by L’Oréal. (McCartney and L’Oréal decided not to renew their licensing agreement in 2013.) McCartney says that organic beauty as a category wasn’t as desirable to luxury shoppers then. “It was like it had landed from outer space, and nobody could understand it,” she says now.

According to Statista research, the global market value for natural and organic beauty and personal care was $29.9 billion in 2021. Products that are marketed as clean, natural, organic or vegan have saturated the market, to the point where parsing the many buzzwords can be difficult. Sephora (owned by LVMH) has a clean-beauty section on its website featuring luxury brands like Tata Harper and Dr. Barbara Sturm (with products that can cost upward of USD 300), and more accessible ones such as Glow Recipe and Rihanna’s Fenty Skin (most priced USD 45 and below). Celebrities have started natural skin-care and beauty brands, including Miranda Kerr (Kora Organics), Jessica Alba (Honest Beauty) and McCartney’s friend Gwyneth Paltrow (the Goop empire).

In recent months, two stars with massive followings entered the skin-care game: Kim Kardashian launched Skkn by Kim, and supermodel Hailey Bieber debuted Rhode. The former is a collection of nine skin-care products (USD 37– USD 95), all available as refills. Like McCartney’s line, Bieber’s launched with just a handful of products (USD 16 – USD 29), which rapidly sold out after debuting in June. Both are direct-to-consumer and marketed as clean beauty. Says McCartney of her competition, “I was worried at the beginning, [development] is going to take two or three years and by the time we come out, this is going to be irrelevant.”

“I wouldn’t make anything if I felt like it was all being made in the way that I’m making it. I would gladly retreat from the room.” — Stella McCartney

McCartney’s new skin-care line was created in partnership with LVMH, the luxury group controlled by the Arnault family group, which bought a minority stake in her label in 2019 following her split from former co-owner Kering. McCartney says she uses her three new products, which are unisex, twice a day. “I don’t have the time or the desire to be that person who has 700000 products in my bathroom,” she says. “I want to have the purest, the simplest, the most core things.” She abhors greasy cleansers (“my eyes always weep”), foamy ones (“too dry”), and makeup removers (“I want to skip that from my entire existence”). Still, she knows that offering only three means customers will continue to mix other things into their routine.

The three products took two years of research and development, and the serum and moisturizer took more than 100 formulations to perfect. Doing product development during lockdown meant enlisting an unconventional focus group for testing: McCartney’s kids—Miller, 17, Bailey, 15, Beckett, 14, and Reiley, 11. “My youngest one said, ‘Oh, Mom, I love the smell; it’s really addictive,’ ” she says, miming the celebratory cheer she did in response.

“I found myself very luckily on my organic farm in the [Worcestershire] countryside,” says McCartney, who is based between there and London. “[It was] spring, so I got to see the swifts and the swallows and life being born. I just saw nature, on heat, all around me.”

The naivete of coming at the new category as a consumer rather than an expert was a boon, she says, because she wasn’t as aware of the category’s usual constraints. “Stella came up with the simple questions that you forget to ask when you’ve been in the industry for too long,” says Stéphane Delva, the general manager of Stella McCartney Beauty. “So, for instance, ‘What does my skin really need?’ ”

McCartney says the skin-care industry has gotten too comfortable with itself. “They’re all relying on [the] same sourcing, the same manufacturing, packaging—it’s all coming from the same place,” she says of established brands.

She and the LVMH team banned close to 2,000 ingredients for her products, a number that exceeds EU regulations and includes commonly used materials like silicones, which aren’t biodegradable, because of the pollution they cause. The ingredients are over 99 % natural and include things like organic rock samphire, biotechnological lingonberry extract, wild harvested dulse algae extract and organic birch sap. (They say that the fewer than 1 % remaining ingredients are synthetics that act as preservatives.) The R&D team at LVMH even sourced mineral water similar to what McCartney swam in as a child, which is in both the serum and the cream.

She says the investment by LVMH, which launched a new beauty maison for McCartney’s line, “sends out a really, really loud signal from Mr. [Bernard] Arnault and from the entire group about how they see the future. I’m the guinea pig.”

When her brand joined LVMH, it was announced that McCartney would take on a special adviser role to help steer the group on sustainability matters. At times, McCartney has referred to Stella McCartney the brand as a project: an incubator for finding the most eco-friendly practices and fabrics, with the hope that others in the fashion industry will emulate them. Those materials currently include recycled cashmere; Econyl, a type of recycled nylon; and grape leather for bags and sneakers in her most recent resort collection. Fur and leather have never been part of her designs.

“I wouldn’t make anything if I felt like it was all being made in the way that I’m making it,” she says. “I would gladly retreat from the room, go, ‘Bye, then, it was nice knowing you! Now so-and-so can take over.’ ”

McCartney is working with LVMH’s sustainability team on their sourcing. She says she’s sometimes the “naughty kid” in the room, describing the time recently when she ran into some of the Fendi team at the LVMH Prize for Young Fashion Designers competition. She says of their stance on fur: “ ‘We’re going to use recycled.’ No, just stop using f—ing fur.” (She says her adviser position at LVMH doesn’t entail reviewing other brands’ practices.)

“Stella’s biggest and enduring success is her contribution to the LVMH executive committee in keeping us attuned to new opportunities in sustainability,” says Antoine Arnault, head of image and environment at LVMH. “She is straightforward, which is a very good trait, since we all need to decide and act quickly on our sustainable and environmental projects.”

McCartney’s first major job was designer at Chloé, where she was hired in 1997. She graduated from Central Saint Martins in London in 1995, and her graduation show featured friends like Kate Moss and Naomi Campbell on the runway. In 2001, McCartney left to start her own label in partnership with Kering. Over the years, she’s expanded into a number of categories: perfume (2003), children’s clothing (2009), lingerie (2011), swimwear and menswear (both in 2016). Since 2004, she’s designed Adidas by Stella McCartney, a line of feminine athleticwear with the sportswear company. For her fashion collections, McCartney often collaborates with artists including Ed Ruscha and Frank Stella.

“I want to have the purest, the simplest, the most core things.” — McCartney

Asked how she balances all the facets of her business, McCartney says, “That is the million-dollar question. We have a good run on structure, and then it goes to s—.”

Her intuitive approach to her brand is in part inspired by her late mother, Linda, a pioneer in natural beauty: “We’d take roses from our farm and she’d get them made into essential oils,” says McCartney. “She was instinctive, she had no training in that. Basically she was closer to being an animal than to being a human.”

As for her father, McCartney gave the skin-care products to him for his recent 80th birthday. “So he’s going to be a convert,” she says. “I found huge inspiration watching my dad playing Glastonbury [music festival, in June]. When I grow up, I want to be like him.”


Here beginns the second item:

Unbuttoned: Linda Evangelista and the Fantasies Fashion Sells

In her recent Vogue cover, the supermodel embodies a ‘dream,’ but one that increasingly seems decades old.

By guest author Vanessa Friedman from the New York Times. Vanessa Friedman was named the fashion director and chief fashion critic in March 2014. In this role she leads global fashion coverage for both The New York Times and International New York Times.

Aug. 22, 2022

The re-emergence last week of the supermodel Linda Evangelista on the cover of British Vogue after her revelation in 2021 that a cosmetic procedure known as CoolSculpting had left her disfigured, has been hailed, widely, as a triumph.

The photo shoot inside the September issue, featuring numerous arresting photos of Ms. Evangelista by Steven Meisel, the photographer who first made her famous, has been likewise raved over and applauded. There she is, her body covered in Alexandre Vauthier leopard print and Chanel tweed and Fendi baby pink mohair, head swathed in matching scarves and jaunty hats, all of it perfectly framing a face that looks as luminous at 57 as it did at 27. Here she is, in the accompanying interview, entitled “Back in Bloom: The Rebirth of the Indomitable Linda Evangelista,” tackling the issue of fashion photo magic head-on.

“That’s not my jaw and neck in real life — and I can’t walk around with tape and elastics everywhere,” she said in the story, after admitting that the condition known as paradoxical adipose hyperplasia, in which fatty tissue grows and hardens instead of shrinking, had made her so depressed she “can’t look in the mirror.” Nor can she bear for anyone to touch her body, she said. And that for the pictures, her skin had been pulled back by the makeup artist Pat McGrath with tape to create a taut effect.

“I’m trying to love myself as I am, but for the photos … ” she said. “Look, for photos I always think we’re here to create fantasies. We’re creating dreams. I think it’s allowed. Also, all my insecurities are taken care of in these pictures, so I got to do what I love to do.”

Indeed, you would never know, looking at the pictures, that Ms. Evangelista had any sort of physical issue at all: She has been returned, via the illusions of makeup and clothing and digital postproduction, and with the imprimatur of Vogue, to her former pedestal.

And she is right about the fantasy part. Fashion has always defined itself as a purveyor of dreams (with Vogue itself as one of its chief vehicles). That is part of its promise and its allure. It offers escapism into gorgeousness, into a world where clothes can, like a fairy godmother, wave their wands and transform; where women are taller, thinner, fitter, more poreless and peerless than even seems possible.

Than, in fact, is possible — at least in pictures — thanks to a retouching process in which waists can be whittled, legs lengthened, bulges erased. It’s a mutually accepted con between creators and consumers into which both sides willing engage. Whenever fashion is challenged for serving up an unrealistic, unachievable, unaffordable image of women, that’s the answer: Beauty is its own justification. It’s a human imperative, and we need it to survive.

But beauty and perfection are not the same thing. And looking at Ms. Evangelista’s cover, it is impossible not to wonder: Should fashion still be serving up this filtered version of dreams, one forged in the decades when the industry itself was run by a group of gatekeepers who were largely white and privileged, in an era shaped by the male gaze? Or are we at a crossroads, where the opportunity is in celebrating the uniqueness of the individual, in all their imperfect, idiosyncratic glory?

This is a moment when the most urgent conversations have to do with the embrace of multiplicity and plurality, rather than the monolithic and homogeneous. It’s a moment of understanding the value of transparency, and sharing different points of view and experiences. Not to mention different definitions of beauty, which reject the sizeism, ageism and racism once endemic to fashion. In the context of now, the airbrushing of insecurities in which fashion has always indulged seems increasingly like a relic of another age, perhaps best relegated to the dusty archives of academia rather than preserved on the covers of magazines.

Besides, there is another kind of dream that fashion offers, one rooted not in the impossible allure of perfection, but in the potential for self-expression. It is entirely possible to glory in the joy of dressing up while still looking like yourself. While looking, in fact, more like yourself — or like the you that you want the rest of the world to see.

A generation of designers are increasingly building their names, businesses and communities on just such a message, filling their runways not simply with traditional models, but with friends and family of all shapes, sizes, ages and gender identities; with wrinkles and bulges and the signs of life lived. And also, in their clothes, with attitude and power.

See, for example, Mike Eckhaus and Zoe Latta of Eckhaus Latta, Rachel Comey, Maryam Nassir Zadeh, Raul Lopez of Luar, Hillary Taymour of Collina Strada and Marine Serre. Also Pierpaolo Piccioli at Valentino, Alessandro Michele at Gucci and Demna at Balenciaga, three names that have helped define the direction of fashion writ large over the last few years. They are all likewise subverting antiquated notions of who belongs on their catwalks and in their clothes and how they may look.

Yet, as Ms. Evangelista’s Vogue cover shows, there is still a tendency to cling to retro notions of style and glamour, despite the fact that many Vogues have become notably better about diversifying their pool of cover models (and in particular at British Vogue, where Edward Enninful, the editor, has made it part of his mission). This is the same impulse that recently led some consumers to call for the return of the 30-pound angel wings of Victoria’s Secret, as if dressing women up like naughty putti was the only way to define “sexy,” one that has led to metaverse avatars that more often resemble cartoon Barbies or Jessica Rabbit rather than the female form in all its infinite variety.

It is the visual expression of the calls for the return of “family values” and old-fashioned gender roles; of the mind set that sees inclusivity as a threat rather than an opportunity, and seeks comfort in the familiar out of fear of an uncertain future. The choice is between moving forward or looking back.

It is not Ms. Evangelista’s job to fight this battle. Simply speaking about her experience with CoolSculpting is a step forward in the public conversation about clinging to the past. And certainly, she has always been a proponent and symbol of fashion’s artifice, famous in her heyday for her constantly mutating hair color and willingness to do what it took to get the picture. In her Vogue shoot, she is being true to her own dreams and perspective.

But imagine the impact if Vogue had put someone, purported flaws and all, on the cover of its biggest issue of the year, and framed those flaws not as flaws at all but as simply part and parcel of a new kind of beauty, worthy of elevation; of being adorned in the most fabulous fashion. Glorious, just as it is.

That would be a genuine rebirth.

A version of this article appears in print on Aug. 25, 2022, Section D, Page 2 of the New York edition with the headline: Let’s Embrace Fantasy Without Erasing Flaws.


This marks the start of the third feature:

The Most Dressed – It’s How You Wear It

The best outfits from Summer Fridays at MoMA PS1, the Guild Hall gala and a cocktail party for Frame.

By guest author Denny Lee Aug. 28, 2022, 3:00 a.m. ET

MoMA PS1’s beloved Warm Up party took a hiatus this season and was replaced by Summer Fridays, featuring D.J. sets in the courtyard from 5 p.m. to 9 p.m. The Aug. 19 lineup featured Jenifa Mayanja and attracted a young, artsy crowd who looked effortlessly cool.

Also that night, Guild Hall held its summer gala honouring Kathy Rayner at the Mulford Farm in East Hampton. The philanthropic crowd, who wore lots of Pucci and Gucci, mingled over cocktails before being seated for dinner and dance performances.

And Frame, an American denim fashion brand, celebrated its men’s wear campaign on Wednesday with a cocktail party at the Noortwyck restaurant in Greenwich Village. Models and influencers, many dressed by Frame, compared notes about the coming fashion week.





‘I use my style to channel the energy I want to feel. I wanted to feel fun and free, and inspire joy and expression in others.’ — Courtney Alexander at MoMA PS1



‘The shirt is called “Zan.” In an abstract way, I’m showing breasts and empowering nudity and vulnerability. It opens a lot of conversations when I wear it. I love that.’ — Melody Hesaraky at MoMA PS1





I had the red jacket made for my birthday last year in Miami. I believe that when I go to party, I need to bring something to it in terms of personal flair or style.’ — R. Couri Hay at Guild Hall






Guild Hall raised more than USD 750000 at its summer gala to support its arts programming.


Here takes off the last item of today:


The Public Life of the Kardashians’ Private Chef


Chef K has worked with some of the biggest celebrities. Now she’s taking centre stage.

By guest author Allie Jones

Published Aug. 24, 2022 Updated Aug. 27, 2022

On the penultimate episode of “Keeping Up With the Kardashians,” Kim Kardashian walked into a rental mansion on Lake Tahoe.

“Did I not say no to these cookies?” she snapped, gesturing toward an artfully arranged display of homemade animal cookies. “Like, they have to be taken away. I gained 15 pounds!”

“Like, this is a joke,” she said, picking up the tiered serving tray. “I’m going to throw them in the toilet.”

Ms. Kardashian’s younger sister Kendall Jenner moved to stop her. “OK, well then control yourself, Kim, because I like them!” she yelled.

The provenance of these all-too-tempting cookies was not discussed on the show. Their creator, Khristianne Uy, was hiding off-camera in the kitchen. The private chef, who prefers the moniker Chef K, spent years working on the margins of “Keeping Up With the Kardashians,” as well as the family’s latest reality program on Hulu, “The Kardashians.” But now, she is stepping into the frame — on TikTok.

In a little over two months, Chef K, 40, has racked up over 100,000 followers on the platform, sharing the meals — and cookies — she makes for her famous clients, which she says have included Charlize Theron, James Cameron, Ryan Seacrest, Sean Combs and Charlie Sheen.

In June, Chef K was catering a birthday trip for a client when he pulled her into one of his social media videos. “At the end of the last dinner he goes, ‘Chef, do a TikTok with me!’” she said on a Zoom call from her own spare white kitchen in Los Angeles. “I know this is going to sound horrible, but I was like, ‘What’s TikTok?”

Since then, Chef K, who has short, dark hair and a constellation of tattoos on her neck and arms, has been uploading her own “day in the life” style videos. One of her first posts, a behind-the-scenes video of her making Chinese chicken salads, taco bowls and chocolate chip cookies for Kylie Jenner at her Kylie Cosmetics office, has more than eight million views.

She also shared a clip of Ms. Kardashian’s on-camera animal-cookie freak-out with the caption “When you accidentally make Kim K gain 15 pounds.”

The Camera-Ready World of the Kardashians

The Kardashian-Jenner clan have built an empire on pseudo-reality, and fans can’t keep their eyes off them.

An Iconic Show: “Keeping Up With the Kardashians,” the reality show that drove the family’s success, ended in 2021. In its run, it redefined celebrity, TV and entrepreneurship.

Their Private Chef: Chef K spent years working off-camera in the Kardashians’ kitchen. Now, she is stepping into the frame on TikTok.

Kourtney’s Branded Wedding: The third wedding between the eldest Kardashian sister and the musician Travis Barker was a walking ad for Dolce & Gabbana.

SKKN by Kim: Kim Kardashian’s new skin care line is built around a nine-step beauty regimen that mirrors her elaborate daily routine.

Ms. Kardashian apologized for that, by the way. “She was so kind, I wish they would have aired it,” Chef K said. At the end of the trip, she recalled that Ms. Kardashian walked up to her and said, “Chef, I’m so sorry, I didn’t mean to say that about your cookies — they’re great. They’re really good, I just have no self-control.” All was forgiven.

‘No eggs, no sweet potatoes, no gluten’

As she manages her own rising profile, Chef K is still dealing with the daily demands of her high-profile clientele. When we spoke, she had just worked a 19-hour day catering a 1950s-diner-themed 21st birthday party for Dr. Dre’s daughter Truly Young, as well as another private event. And she said she was getting ready to embark on a multiday trip to Pebble Beach, Calif., where she would cater an event attended by Philip Sarofim (among others), a venture capitalist who used to date Avril Lavigne and who is a son of the late Texas billionaire Fayez Sarofim.

On top of her many private engagements, Chef K still regularly cooks for all the Kardashians and can recite their dietary restrictions and preferences with the command of a high-ranking military officer.

“Scott: no dairy,” she began, referring to Kourtney Kardashian’s former partner, who is still a major presence on the show. “Kourtney: depends on what the doctor says — no eggs, vegan now, no sweet potatoes, no gluten. Khloe: chicken, only white meat. The kids: I memorize their dietary restrictions too. Kendall: nothing spicy. Kim: no cilantro. Kylie: soup all the time.”

These kinds of disclosures have drawn fans more deeply into her world, making “private chef” a paradoxically public role. The Kardashians have helped bolster her profile, too: Kourtney and her new husband, Travis Barker, have posted about her menus for their family dinners and children’s birthday parties on Instagram.

Mr. Sheen sings her praises. “Early on in our time together, I dared her to perfectly duplicate what I considered to be the greatest cheeseburger on planet Earth, the Five Guys — double bacon,” Mr. Sheen said. “Less than 24 hours later, she served me one. I took one bite and never went to Five Guys again.”

Kourtney, Chef K said, is an especially big fan of matcha, so she has created matcha cookies, matcha protein balls and matcha ice cream to suit her tastes. Kourtney put the recipe for the protein balls on Poosh, her lifestyle website.

Why do fans care about the minute details of the Kardashians’ diets? Chef K compared the interest in private chefs to the comparatively longstanding fascination with celebrity hair and makeup artists. Today, a private chef is just one more element of the celebrity ecosystem about which people are eager to learn more.

And “with food, it’s still untapped,” she said. More people can relate to the act of cooking than spending three hours in a chair getting glam, she said. Cooking is “the essence of the home,” she said. “That’s where the heart is.”


Chef K is not the only private chef to find fame online recently. Meredith Hayden, a private chef in the Hamptons, has gone viral on TikTok more than once this year by sharing “day in the life” videos from her job catering to a wealthy family at their summer home. Using the handle @wishbonekitchen, she has collected more than 900,000 followers, a success so tantalizing that two of her clients, the fashion designer Joseph Altuzarra and his husband, Seth Weissman, decided to start their own account. Ms. Hayden, 26, helped Mr. Altuzarra get started by doing a “client reveal” video in July.

Ms. Hayden said in an interview that Mr. Altuzarra and Mr. Weissman are supportive of her social media work and give her plenty of time to take photos of her meals before she serves them. “I remember last summer Joseph was like, ‘I got a ring light, do you want to use it?’”

She attributed the success of her videos and private chef content in general to the idea that the videos are aspirational on a couple of different levels. “I’ll get comments that are like, ‘I don’t know if I want to hire you or if I want to be you,’” she said. “Some people aspire to be able to hire a private chef, and others are like, ‘I’m so jealous of you as a private chef living that life and having that job.’”

Chef K is still figuring out what she wants to share with her new fans. But she has lots of stories saved up from working for celebrities over the years.

She started cooking early. After immigrating to California from the Philippines when she was 11, she began culinary school at 15 and made a career working as a pastry chef at restaurants in Los Angeles.

It was during a stint working at BOA Steakhouse in the mid-aughts (which incidentally is now very popular with TikTokers) that she met her first client. From there, she started working for the director James Cameron and the “American Idol” creator Simon Fuller.

She speaks lovingly — almost reverentially — about all of her clients. Nick Jonas is “one of the sweetest gentlemen.” Charlize Theron: “Love her.” Ryan Seacrest was her “favorite client” and the “nicest man.” He was also the one to connect her with Kris Jenner, which started her journey working for the Kardashians.

Chef K also fondly recalls working for Mr. Sheen, even though she started at a tumultuous time in his personal life. It was 2011, she said, “when all that tiger blood thing happened, he had just done the interview.”

But he turned out to be the nicest guy who always asked for liverwurst sandwiches and chicken and dumplings, she said. Fans assume that her moniker, Chef K, is related to her work with the Kardashians, but she said Mr. Sheen was the one to start calling her that, after he couldn’t figure out how to spell her name on one of her checks.

She said she loved working for Mr. Sheen because it also gave her the opportunity to cook for his ex-wife, Denise Richards, and their children. “They lived down the street and would come over more,” she said. “It was like the children eating and smiling with their father and their mother, and I thought, wow, this is happening through food.”

It was during this time that Chef K got her first taste of fame: She said Ms. Richards connected her with Patti Stanger, who at the time was hosting the reality show “Millionaire Matchmaker” on Bravo. Chef K ended up appearing on the show as its “first lesbian millionaire.” She also appeared on Season 1 of “The Taste,” an ABC cooking competition show, which she won.

After those appearances, however, she got busier with her private clients and retreated somewhat from the public eye. Now, with her new social media profile, she is eager to create a lasting brand. She is considering writing a cookbook and has a beverage collaboration in the works. Mostly, though, she wants to show fans at home what it’s really like to work in a celebrity’s kitchen.

“People don’t know what happens in the back of house,” she said. “There’s a lot of grit, there’s a lot of sacrifice, there’s a lot that goes on for just that 10 minutes of their lunch.”


Aug. 25, 2022

A previous version of this article misstated where Chef K was catering for Philip Sarofim. It was Pebble Beach, Calif. not Miami.

A version of this article appears in print on Aug. 25, 2022, Section D, Page 1 of the New York edition with the headline: Kourtney: Vegan. Kim: No Cilantro..




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Mergers: EU Commission clears acquisition of Schur Flexibles by Apollo Capital Management


Early Registration is Now Open for AATCC’s Textile Discovery Summit (Oct. 4-6, 2022)




U.S. Educational Institutions Partner with Honduran University to Educate and Train Thousands of Students for Textile Jobs as Nearshoring and Onshoring Drives Historic Investments and Job Growth


Lenzing looks to the future with green energy in Indonesia


Making Matilda Djerf a Household Name

Intellectual Property

Madrid System: New Online Service – Correcting Errors in the International Register

Payment App

Give experiences as a gift now with TWINT


The new issue of Textile-Network is available now!


How LinkedIn’s fertility benefits became a ‘USP for talent


Consumption of online news rises in popularity in EU


BASF and Sulzer Chemtech sign Memorandum of Understanding to collaborate in sustainable technologies


Foot Locker’s Dick Johnson to Step Down, Names Ulta Beauty’s Mary Dillon as CEOFoot Locker’s Dick Johnson to Step Down, Names Ulta Beauty’s Mary Dillon as CEO

Google’s Sivanandan named Head of Disney+ Hotstar


M&S gender neutral changing room policy sparks online furore


Can Nike Turn the Forgotten Jordan 2 Into the Next Hype Sneaker?


Start of the second courses to become a Swiss Cheese-Sommelier®


Tennis Styles Fuel Seasonal Marketing Strategies


IDTechEx Webinar: The Bioplastic Revolution: Successes and Challenges (Sept. 1, 2022)

Why 3D printing over injection moulding?


Twitter’s Former Security Chief Accuses It of ‘Egregious Deficiencies’