ATHLEISURE LIST | OTHERSHIP

Othership launched in Toronto in February 2022. The COVID restrictions ended in late January. Due to the success and the demand that took place in its first month, their second location in Toronto opened. They knew that a number of cities have people that are stressed and struggle and are ultra social. The Flatiron location opened in July 2024 and 25 Kent Ave. They will also have another in Williamsburg, BK next year with 6,168 sqft.

The 5 founders include Robbie Bent, his wife Emily Bent, and their best friends - Amanda Laine, Harrison Taylor, and Myles Farmer. With a focus on developing healthier communities in Toronto, they started by building a makeshift ice bath and sauna in Robbie's backyard together, they discovered that the combination of hot and cold immersion acted as a powerful social tool, breaking down barriers and fostering connection.

For each location, the goal is to create an environment that embraces emotions and vulnerability, empowering people to be kind to themselves, adopt a healthy mindset, and build community - free from alcohol. We want people to start their day with a reset, or come in and socialize for a night out away from bar culture.

Othership’s custom-designed ice baths are kept icy cold as low as 32°F. The benefits are many, including a sense of pride after class, improved focus and enhanced mood, and a complete reduction of stress. The ice bath also enhances recovery and reduces soreness after workouts, along with benefits like reduced inflammation and a stronger immune system.

Othership’s performance saunas are designed to provide a clean, fresh heat up to 190°F, with aromatic snowballs providing humidity that feels like 200°F. Users find focus and meditative experiences, increased blood circulation, and reduced cortisol levels.

Free Flow classes allows you to use the space how you like. You can hang out with friends and there are quiet free flows as well throughout the day. Social replaces the bar or nightclub as a place to meet people at night. Sometimes there are DJs, music, and even comedy nights. Classes fall into 3 categories (up, down, and all around for energy, relaxation, or emotional connection) and they offer breathwork, aromatherapy via essential oils, towel waving, and a curated soundscape.

Journeyers should wear a bathing suit and make sure to bring a water bottle (no glass). Towels are provided.

Othership offers a performance sauna, the coldest commercial ice baths in North America, and a beautiful amphitheater seating social commons area with three kinds of tea. They have showers, changing stalls, and washrooms as well as lockers for storing belongings. It is also wheelchair accessible.

OTHERSHIP

23 W 20th St

NY, NY 10011

othership.us

IG @othership

PHOTO CREDITS | Ian Patterson

Read the JUL ISSUE #103 of Athleisure Mag and see ATHLEISURE LIST Othership in mag.

IN THE KNOW | MICHELIN GUIDE

When we're thinking of where to eat and to stay, we're always looking for superb recommendations! The MICHELIN Guide is one of the most revered resources when it comes to finding a number of restaurants and hotels that you can enjoy in your desired city whether you're a local or traveling! We were honored to chat with them to know more about how this Guide from 1900 began in France; evolved; the criteria for restaurants and hotels that are included; who their Inspectors are; and the difference between being recognized versus receiving Stars and Keys!

We're so pleased that we got to find out this and more from the incredible team at MICHELIN who values the importance of focusing on your customer and seamlessly sends their teams in to evaluate the hard work that is done by restaurants and hotels that could be given honors.

ATHLEISURE MAG: The MICHELIN Guide was created in the 1900's. What is the correlation between MICHELIN Tires and the creation/purpose of this Guide?

MICHELIN: The story of the MICHELIN Guide began in 1900. At that time, before it became the international benchmark for restaurant and hotel guides, it was a 400-page guidebook containing practical information for travelers. It was given to motorists free of charge; its aim being to facilitate their travels and develop mobility. It started in Clermont-Ferrand in central France in 1889, when brothers Andre and Edourard Michelin founded their eponymous tire company, fuelled by a grand vision for the French automobile industry at a time when there were fewer than 3,000 cars in the country.

In order to help motorists develop their trips – thereby boosting car sales and in turn, tire sales – the Michelin brothers produced a small guide filled with information for travelers such as maps, information on how to change a tire, where to fill up on petrol, and for those looking for a respite from the adventures of the day, a listing of places to eat and to stay for the night!

For 2 decades, this information was available at no cost! That was until Andre Michelin arrived at a tire shop to see his beloved guides being used to prop up a workbench. Based on the principle that “man only truly respects what he pays for,” a brand new MICHELIN Guide was launched in 1920 and sold for 7 francs.

For the first time, it included a list of hotels in Paris, lists of restaurants according to specific categories, as well as the abandonment of paid-for advertisements in the guide. The brothers also recruited a team of mystery diners, now called restaurant inspectors as we know them today, to visit and review restaurants anonymously.

In 1926, the guide awarded stars for fine dining establishments and they were initially marked with a single star. In 1931, the hierarchy of zero, one, two, and three stars were introduced and in 1936, the criteria for the starred rankings were published.

The MICHELIN Guides now rate over 30,000 establishments in over 30 territories across three continents and more than 30 million MICHELIN Guides have been sold worldwide since. Due to the foresight of the founding Michelin brothers, the company maintains its mission and relevancy that it has had since 1900 to make driving, tourism, and the search for unforgettable experiences available to all.

AM: Can you tell us about the MICHELIN Guide Inspectors and what are the qualities or background that you look for in terms of finding those individuals who contribute to the Guide?

M: These former hospitality professionals all have at least 10 years of experience, which ensures that they have a precise and technical knowledge of the field. They also receive two years of training in the MICHELIN Guide’s methodology, which is based on objective and universally deployable criteria.

The team, which includes local and international inspectors, are fully capable of evolving in international gastronomic scenes and finding the best talents. MICHELIN Guide Inspectors enjoy complete independence in choosing the restaurants they visit. Only their knowledge of the local gastronomic scene – through research, monitoring and documentation – enable them to find their way around.

No one can tell the difference between a regular customer and a Guide Inspector. Their identity, when they are visiting, and where they are all kept secret. They pay their own bills, just as any other restaurant-goer.

Consistency is very important when awarding MICHELIN Stars, so we need to be sure that the customers will receive the same high standard of cooking whenever they visit. Various Inspectors will visit throughout the seasons: for lunch as well as for dinner, both at the weekend and during the week. We try to eat as many dishes as possible over the course of the year, as we do need to try as much of the chef’s food as we can. We have to be sure that all the dishes that come out of the kitchen are of a consistently high standard. Sometimes we eat alone, sometimes in pairs, and occasionally even as a group. Once several inspectors have eaten at a restaurant, they can discuss their experiences as a team in order to make a final decision.

AM: Do the Inspectors work throughout the year to visit restaurants and hotels around the world?

M: Yes, the MICHELIN Guide selection is provided annually, based on the anonymous and independent dining & travel experiences of the inspection team, and they are re-evaluated each year.

AM: In looking at the US, The MICHELIN North American Guide first launched in 2005 starting with New York, Chicago debuted in 2011, Washington DC followed in 2017, California started with San Francisco in 2008 and it was statewide in 2019, in 2022 Miami/Orlando/Tampa, FL launched, Toronto joined in 2022 along with Vancouver, and both Colorado and Atlanta launched last year! How do cities in the US that have yet to be included go about getting MICHELIN's attention for their restaurants and hotels to be considered for inclusion?

M: The MICHELIN Guide inspection team is always evaluating new destinations for the Guide, around the world. MICHELIN decides whether to have its anonymous inspectors conduct a destination assessment. Once all the conditions are present to highlight the quality of the culinary scene in a given city, region or country, the MICHELIN Guide begins its process. Only the inspectors, based on their expert research, choose destinations.

AM: We have had the pleasure of interviewing a number of chefs that have received MICHELIN stars. Can you tell us about what each star means and what the criteria is?

M: A MICHELIN Star is awarded to restaurants offering outstanding cooking.Any restaurant of any style and cuisine type can qualify for a Star. We take into account 5 universal criteria: the quality of ingredients, the harmony of flavors, the mastery of techniques, the personality of the chef as expressed through the cuisine and, just as importantly, consistency both across the entire menu and over time.

One MICHELIN Star is awarded to restaurants using top quality ingredients, where dishes with distinct flavors are prepared to a consistently high standard.

Two MICHELIN Stars are awarded when the personality and talent of the chef are evident in their expertly crafted dishes; their food is refined and inspired.

Three MICHELIN Stars is our highest award, given for the superlative cooking of chefs at the peak of their profession; their cooking is elevated to an art form and some of their dishes are destined to become classics.

If the restaurant is currently in the MICHELIN Guide then they don’t need to apply for a Star, as all restaurants in the guide are re-assessed regularly. If we feel that the cooking at a restaurant is no longer at the same level that it was, then we would not re-award the Star the following year. Any restaurant can ask us to consider them for inclusion in the MICHELIN Guide and we love receiving recommendations from our readers too.

AM: We know that the first star came in 1926 and between 1931 and 1933 there is the 3-star system. Do you think that there will be a point where an additional star may be added to the system?

M: At this time, we don’t have news to share about the star system being extended.

AM: We talked about the MICHELIN Star. What is the difference between a Green Star and a Bib Gourmands?

M: The Green Star is our newest award. It was introduced to the MICHELIN Guide France in 2020 and is now featured in every country covered by the MICHELIN Guide. It is awarded to restaurants that are role models when it comes to sustainable gastronomy.

The Bib Gourmand is our award for great value, and highlights simple yet skillful cooking at an affordable price. (But we should also say that we are looking for a high standard of cooking just for a restaurant to be recommended in the MICHELIN Guide).

AM: Why do MICHELIN Guides have different times that they are awarded in terms of destination?

M: The MICHELIN Guide distinctions are awarded annually for each destination. The selections are revealed at different times throughout the year based on event planning, which is done in partnership with MICHELIN and the destination marketing organization.

AM: What advice would you give to a young chef?

M: There are three things:

• Great cooking starts with great ingredients, so use the best produce you can find – whether that’s a tomato or a chicken.

• Take pleasure in cooking for your customers, rather than cooking to try and win awards.

• Eat out as much as you can, but also eat your own dishes – sometimes it’s not until you’re halfway through a dish that you realize it’s not quite right.

AM: The MICHELIN Key is a new distinction that is available to hotels! Can you tell us more about this and on Apr 8th the first Keys were announced for hotels in Paris, when will they be announced for other guides like those in the US?

M: The latest addition to the MICHELIN Guide accolades is the MICHELIN Keys which highlights establishments in the Guide’s hotel selection offering the most exceptional stays. The first selection of MICHELIN Keys were awarded in France with a selection team that is based on anonymous stays or visits, independent of existing labels, tourism stars, and pre-established quotas. The MICHELIN Keys are becoming a new international benchmark for travelers helping them to find accommodations that stand out for their unique hospitality concept, distinctive character, warm welcome and very high level of service. These hotels can be booked on its digital platforms.

In this very first list, 189 hotels and ac commodations, among some 600 establishments already recommended by the MICHELIN Guide France, are honored with 24 Three MICHELIN Keys, 38 Two MICHELIN Keys and 127 One MICHELIN Keys.

Just like the famous Stars, that, in the MICHELIN Guide restaurant selection, indicate establishments offering the best culinary experiences, the Keys reveal accommodations in the Guide’s hotel selection that offer the most outstanding stays. They are a new benchmark for travelers, qualifying the experiences in broad terms, rather than focusing solely on amenities.

One MICHELIN Key: A Very Special Stay – This is a true gem with its own character and personality. It may break the mold, offer something different or simply be one of the best of its type. Service always goes the extra mile and it provides so much more than similarly priced establishments.

Two MICHELIN Keys: An Excellent Stay – Somewhere truly unique and exceptional in every way, where a memorable experience is always guaranteed. A hotel of character, personality and charm that’s run with obvious pride and considerable care. Eye-catching design or architecture, and a real sense of the locale make this an exceptional place to stay.

Three MICHELIN Keys: An Extraordinary Stay – It’s all about astonishment and indulgence here – this is the ultimate in comfort and service, style and elegance. It is one of the world’s most remarkable and extraordinary hotels and a destination in itself for that trip of a lifetime. All the elements of truly great hospitality are here to ensure any stay will stay long in the memory and hearts.

France is the first country to unveil its honorees of 189 establishments. After France, the MICHELIN Keys were announced on Apr 24th for the United States (Atlanta, California, Chicago, Colorado, Florida, New York, and Washington DC.) Spain followed on Apr 29th, following with Italy on May 7th, and Japan on Jul 4th.

AM: You can also book hotels through the MICHELIN Guide, why should we do this here when we are organizing our next trip?

M: All of the MICHELIN Guide hotel recommendations can be found free of charge on the MICHELIN Guide website and app. On these digital platforms, all of the recommended hotels can be booked at the best available rate. To assist travelers throughout their stay, the MICHELIN Guide also provides a concierge service offered by a team of travel experts, employed by the MICHELIN Guide.

AM: Last fall, there was a MICHELIN Guide Ceremony that took place in Tribeca for New York, Chicago, and Washington DC to celebrate restaurants and professionals on one night! Chefs were invited to see if they received a Star. Will there be a ceremony this year that is like this?

M: The MICHELIN Guide selections are awarded annually for each destination. We don’t have news to share on the the format of the ceremonies for New York, DC or Chicago at this time for 2024.

AM: The MICHELIN Guide App is really informative in terms of seeing those restaurants that have varying distinctions or simply being recognized/listed, having access to articles, being able to book hotels/connect to restaurants etc. As we continue to navigate 2024, will there be additional offerings on the app for users to be able to enjoy or utilize?

M: You can stay tuned to our website guide.michelin.com for information about any new features regarding the apps. Updates will also periodically be available via the app store as they are released.

IG @michelinguide

PHOTOGRAPHY COURTESY | PG 114 One White Street/Gary He | PG 116 MICHELIN

Read the APR ISUE #100 of Athleisure Mag and see IN THE KNOW | MICHELIN GUIDE in mag.

THE ART OF THE SNACK | GOA NEW YORK

This month's The Art of the Snack takes us to Goa New York, an Indian restauran that takes our taste buds to another level with their savory dishes! We had the chance to catch up with Chef/Owner and Restaurateur Hemant Bhagwani who has opened a number of restaurants in Canada! With Goa New York, he brings his vision of Indian food here in NY for us to enjoy. We wanted to find out more about his culinary background, how he got into the industry, opening Goa, and what we can expect when we come in with our friends and family for an amazing meal!

ATHLEISURE MAG: Can you tell us about your background and culinary journey?

CHEF HEMANT BHAGWANI: I was born in India and got my hotel and culinary management degree in Switzerland. I then put my learning to use in Sydney and Dubai, getting involved in every stage of a restaurant from start-up operations to turning around struggling ones to taking successful ones to new heights. I landed in Toronto in 2000 and launched my Canadian career. After adding a professional sommelier certification to my qualifications, I decided to set out on my own in an effort to get Indian cuisine the recognition and respect it rightfully deserves. Since 2002, I have opened 57 restaurants.

AM: You are a celebrated Indian chef/chef restaurateur in Toronto and have opened a number of restaurants in Canada. Why did you want to open your first U.S. project?

CHEF HB: I have long wanted to bring my style of Indian food to the U.S., and I am very excited to start with New York City. This is truly where it's at! Getting Indian food recognized for its range, flavors, variety, and array of ingredients is what I have always strived towards. The logical next step for me after Canada was the U.S.

ATHLEISURE MAG: You're known for channeling the vibe of Goa. Can you tell us about this and what that means?

CHEF HB: In 2017, feeling burned out from many years in the restaurant industry, I sold my company and took a six-month sabbatical. I spent those six months in Goa, where I fell in love with the place, the culture, and most importantly the cuisine. Goa is not just a place. It's a vibe. It's colorful, vibrant, and pulsating with energy. It's unlike anything and any place else! Goa is India's happy place or as I call it the 'Miami' of India.

AM: You launched Goa New York in Tribeca in Feb, from an ambiance standpoint, what can diners expect when they are coming for their next great meal?

CHEF HB: Goa New York is a luxurious space that draws its inspiration from nature as its palette. When you step through the doors, you are greeted by the sight of two peacocks that were custom designed for the space. Whimsically, we call them Melody and Mayura (peacock in Hindi). As you continue further inside, you will see our interpretation of the Tree of Life, inspired by the century-old banyan tree in Arambol, Goa. The wallpaper is also evocative of nature scenes with flora and fauna. We aim to combine the ambiance with exquisite food and drink offerings, and music, to bring a sublime experience every time.

AM: What ingredients and spices are associated with Indian cuisine?

CHEF HB: Indian cuisine is actually many, many different regional cuisines. But religion also plays a role in how the same dish might be prepared. Broadly speaking, and just to name a few spices, Indian cuisine uses turmeric (also recognized worldwide now for its health benefits), cumin, coriander, garam masala, fenugreek, asafetida, and Indian red chili powder (which is brighter and hotter than paprika), as well as ingredients such as cinnamon, bay leaf, mace, nutmeg, fennel seeds, carom, cloves, mustard seeds, curry leaves. What my restaurants specialize in is using locally available high-quality ingredients and giving them the traditional Indian treatment. The result is what you will experience when you visit Goa New York.

AM: Your menu reflects your culinary journey across the world. Why was it important to bring this modern, playful, and interactive take to the food that is offered here?

CHEF HB: One learns from one's travels! I have been traveling, learning, and evolving since I left India right after high school. Along the journey, my skills have been honed, my repertoire has expanded, and the learning continues, of course. This is the very reason I am here, to bring MY take. That includes the modern aspect, and the playful and interactive take. I believe that when you come to my restaurant, you are my guest as much as you would be at my home so you get to have the full benefit of my experiences around the world.

AM: What are 3 appetizers that you suggest that we should have when we come in?

CHEF HB: I recommend the Shrimp Balchao Toast Tiger Shrimp in a spicy tangy spicy sauce, red radish, prawn chili oil, on Japanese milk bread toast; Goan Style Slaw Goan Salad with 16 ingredients, green chili, salted star fruit, and plum dressing; and Hamachi Ceviche Coconut Broth, kokum dressing, crispy puffed rice, and chili salsa.

AM: What are 3 entrees that we should have with friends and family?

CHEF HB: Great for friends and family are the Goan Prawn Curry with okra, drumsticks, coconut, kokum, dried mango, Portuguese chili-garlic oil; Pork Tenderloin Sorpotal an essential pork curry from Goa, slow cooked, with caramelized onions, roasted kohlrabi curry; and Laal Maas 8-hour slow-cooked, bone-in goat leg in Rajasthani red chilies. I also recommend the Butter Chicken because I do think we make the best butter chicken in NYC - it's charcoal smoked.

AM: What are 3 sides that we must have?

CHEF HB: Some of our great sides include the House Baked Sourdough Poi Bread which we serve with a choice of chorizo butter or balchao butter; Shakuti Chicken Pao white chicken massaged with coconut and then cooked in a spicy tamarind curry, served with pao bread; and the Rawa Fish Fry with granulated wheat chili crisp, pickled red cabbage, green chili chutney. The chicken and fish are listed as appetizers, but I love to have them as sides! The portion size is perfect to add as a side to any dish.

AM: In terms of cocktails, what are 3 that we should have?

CHEF HB: The Goan Paradise a classic Goan-Portuguese cocktail from the 1920s with coconut feni (Goan spirit), fresh lime juice, spicy syrup smoked on the table; Kokum Margarita with Ginjo-shu tequila curry leaf, lime juice, kokum salt, agave nectar; and the Goan Shandy with ginger wine, ginger cordial, lemon juice, wheat beer, ginger matchsticks - are all great options!

AM: Dessert is a great way to end a meal, what are 3 that we should share with friends and family?

CHEF HB: I recommend the crispy Jalebi Rabdi, which we serve with Moscato; Bebinca Goan layered coconut cake paired with sherry; and the Cumin-chocolate Fondant with tawny port.

IG @goanewyork

PHOTOGRAPHY CREDITS | Michael Tulipan

Read the JUN ISSUE #90 of Athleisure Mag and see THE ART OF THE SNACK | Goa New York 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.

STYLE, WHEN YOU'RE EXPECTING

We're in that stage of life where we are going through milestones or watching those going through - rocking our careers of choice, launching businesses, getting engaged, married and having babies. We're aware of these benchmarks but the one we thing we hear after someone announces that they are expecting, there is a bit of a groan about what they can wear, what options exist and if they can go up a size. We sat down with corporate veterans and Co-Founders of of Mia Tango to talk about connecting mommies to be with brands that won't sacrifice their style and how this company was conceived.

ATHLEISURE MAG: Tell us about your background pre Mia Tango as our readers love knowing about trailblazing women.

STEPHANIE RETCHO: I began my career working in direct marketing - the great precursor to the digital age (darn, did I just age myself ?!). I remember so vividly interviewing for my first job in advertising at Leo Burnett in Toronto. It so perfectly combined my love of data with my creative talents - my inner geek did a happy dance. After working at Leo Burnett for a few years, I took a big leap of faith and moved to New York City. I played hookie for a week and flew to NYC,  to interview with 6 or 7 different agencies. By the end of it, I had 2 job offers. 3 weeks later, this was home. I worked in agencies most of my career until moving to KAYAK. KAYAK was a marketer’s dream - the chance to work with smart people, building something you believed in, and then to watch it fly. KAYAK is where Melissa and I met, and working on Mia Tango feels like the perfect next step. This time, the journey is even more personal - it’s a problem that we truly believe needs solving!

MELISSA BIRGE: After college, I went to work for Arthur Anderson as a CPA in the adult division. I have always loved puzzles and solving problems, and that's what accounting felt like to me. Working for a large professional services firm gave me the opportunity to see a lot of different industries and company environments, and I found I preferred working with emerging companies that were in a high growth mode. After Andersen went under following the Enron crisis, I went to work for one of its clients: Orbitz. I loved the fast paced, demanding environment and the “newness” of the internet, plus travel is a big passion. I learned a lot about building a team, creating processes and working with different disciplines. Orbitz was acquired and a year later, I took some time off to travel the world on a solo journey, and then enjoy the Chicago summer before I started my new position as the Controller at a restaurant chain called Potbelly Sandwich Works. I loved learning about managing multiple retail sites and helping to profitably grow this beloved sandwich shop, but when I got the call to join the team at KAYAK, I packed my bags and moved to the east coast. KAYAK was a dream job - earning the CFO title and taking the company public before selling it for $2.1B. Having achieved everything I wanted to in finance and after having worked for some great start-ups, I felt it was time for the next great challenge: creating my own business.

AM: What was the moment that led you to creating Mia Tango and tell us more about this e-commerce platform.

MB: Mia Tango was really conceived from my own experience in buying clothing during my pregnancy and 4th trimester. I like to tell a story about my ultimate humiliation when I had to wear slippers to an important business meeting because I could not find any shoes that were wide enough to accommodate my big fat pregnant feet, and that's because there is no such thing as shoes made for pregnant women. But there were so many things that I found dissatisfying aout the whole experience  - it felt like no

one really cared about pregnant women and new moms. It was like retailers were just putting forth the minimum effort because it wasn’t a big enough market to really care about. Well, I care about it deeply. I feel you pregnant women and new moms!

My husband and I were enjoying a glass of wine after we’d put our twins to bed, and he just asked me what I wanted to do next in my career, because he knew I was ready. The answer came out of my mouth so quickly and so naturally, and yet I was surprised to hear myself say it. I told him, “I want to start my own business.” From there, I just told him everything that I saw that was broken about buying maternity clothes and how I would change it. Retail was changing, the sharing economy was growing and millennials were embracing new ecommerce brands. Maternity was the last to adopt the trends, which really came as no surprise.

One of the things I really wanted to address head on was the guilt factor in buying maternity. When I was exploring the idea of Mia Tango, I interviewed dozens of pregnant women and new moms. I started out asking them to tell me about their pregnancies.  Every last one of them described their pregnancy in joyful terms. Mind you, many of these women suffered horrific physical effects: debilitating morning sickness; a full body rash that itched like mad; preeclampsia; gestational diabetes. These are not little inconveniences – these are painful and frightening experiences – and yet, the women still felt their pregnancies were wonderful, because they all know, as every mother does, that the birth of a healthy child is a miracle.

Then I asked them to tell me about getting dressed for pregnancy and I got an entirely different reaction. Frustration. Resentment. And Guilt. A lot of guilt, which is kind of bullshit given the burden they’re carrying. Woman after woman told me where they usually shop and what they usually spend on clothes, and then described how they completely changed their entire shopping strategy after they got pregnant. They went from buying high quality, well made and fashionable items to cheap basics. Most often, the brands they knew and loved didn’t care maternity, so they were forced to shop brands they weren’t familiar with. The service was nonexistent at most big box stores and online, and they felt confused by what to buy and how to make a new wardrobe. They bought as little as they could get away with, focusing on plain tees, leggings and jeans. The result? They hated their clothes. The poor quality made their sensitive skin itch. The colors faded and the materials pilled and sagged. They wanted to burn their clothes in the end. Worse yet, like me, they felt like a lesser version of themselves. At the exact time they should have felt their most beautiful, they felt anything but.

AM: Mia Tango allows shoppers to be introduced to brands that provide maternity and new moms with attire as well as the ability to purchase pre-loved items - how important is having these avenues for your audience?

SR: We’ve heard time and time again - and experienced ourselves - how uninspiring shopping for maternity clothing is. The brands you like most often don’t make maternity, it’s hard to find things that you like, that are good quality and that you feel like yourself in. There are some really great designers out there making high quality, beautiful and intelligently designed pieces...it’s just that no one knows about them and they’re hard to find. First and foremost, we want to bring these great products together for moms-to-be and moms - all in one plae. The other side to the struggle is that mot women view buying maternity as a "temporary" thing. They feel guilty about investing a lot of money in it, but as a result they end up wearing things that they don’t feel good in. Our trade-in program lets mamas trade in most items purchased new at Mia Tango for 30% cash back. We also offer pre-loved items at 40-60% off the new purchase price. These programs are both designed to help mamas look great and feel great about their purchases. We really just want to be the brand that gets it. It’s so needed.

MB: Prior to starting Mia Tango, we talked to dozens of moms who told us all about their frustrations when searching for maternity and postpartum clothing. Chief among them was the challenge of finding chic clothes that fit their personal style, and so we felt it was vital to do this work for them and bring the best brands together. Then there was the conflicting feeling of wanting to look great, but not wanting to make a big investment in a temporary wardrobe. This was especially hard when they weren’t sure if they’d grow out of the clothes and they didn’t know the quality of unfamiliar brands. So we’ve designed our store to have generous and easy return policies, along with the option to have us buy back items within nine months of purchase. We also heard that many women love to shop pre-loved clothes because it makes them feel good, whether because they reduce their carbon footprint or because they score a great bargain. All of these features were designed to address the wants and needs of our customer.

AM: How do you go about finding designers that are featured in Mia Tango?

SR: All credit to Melissa on finding simply the best designers out there for pregnancy and new moms! She has a great eye! We’ve also benefited a lot from networking with other mom-preneurs. Many of the best styles in maternity and postpartum clothing are coming from women who saw a need and decided to solve the problem themselves by designing their own line. (Shocker, right? Moms making it happen!) We want to make it easier for other moms to find these great brands. That’s a huge part of why Mia Tango exists.

MB: We started with four designers and have now expanded to over 20! We’re always on the lookout for great new brands. When we see someone wearing something that we love, we research the designer and what they’re about, and designers seek us out as well. Quality is important to us, as is the designer’s vision - it’s got to fit with our woman’s lifestyle, values and aesthetic. We really believe in the brands that we carry.

AM: Will you extend these offerings to baby clothes as well?

SR: We have so many great ideas about how to expand our offering - we’re excited about all of them.

MB: At our heart, we are about the mom and what she needs, so any product extension that we consider has to pass through that filter first.

AM: As mothers who run this boutique, how important is it for women to ensure that they maintain self-care, take care of their families as well as to find outlets whether they are creative levels of expression and/or entrepreneurial?

SR: Whether a woman works outside of the home or in the home (and let’s be clear - it’s all work, and it’s hard work) so often, as moms, we’re told to put ourselves last when really we should be putting ourselves first. That’s a tough shift in thinking. But, it’s a crucial one. Everyone needs a base level of care in order to be able to function as a human. But, to really share your gifts with others (yes, you have gifts!) you need to be fed spiritually, mentally and physically. Family is a big part of that, but something to feed your brain and maintain your body and mind is equally important. How you feel about how you look is a big part of your physical being and your physical presence. That’s where Mia Tango comes in and it’s a big part of why I love it so much. Pregnancy and motherhood should be a time when you feel great about yourself, and clothing plays a huge part in that. For all the sacrifices you make, getting dressed should make you feel like, “heck ya, I’ve got this!”

MB: When I feel like I don’t have time to even take a shower, I always remind myself of what the flight attendants tell you during the routine safety demonstration: put your own mask on first before assisting others. As moms, this is so unbelievably counter-intuitive, but you really can’t help anyone if you aren’t well yourself. For me, self-care is about sleep, exercise, proper nutrition, a bit of meditation and quality time with my husband. When anyone of those things is missing from my routine, I find that I’m less patient and less able to cope with whatever hijinx three little boys cook up for me during the day. And work for me has always been a creative outlet, which sounds funny given that I’m an accountant by trade, but it’s been a way to use my mental energy to solve problems and it really feeds me. Our children are not ours to keep forever - we are here to teach them, guide them and then let them go. It brings me to tears to talk about, but that’s our job. And when they leave our home to start their own journey, we better hope that we have something else in our lives that keeps us engaged and energized, or else the void is going to engulf us.

AM: How important is it for women to encourage other women within business?

SR: It’s critical. While I think it’s also important (and much needed) for men and women to support each other, I think that women are truly able to understand each other’s situations - to be able to relate to the challenges, fears, and - yes - insecurities, as well as knowing first-hand the hurdles we have to get over every day.

MB: I remember hearing Sandra Day O’Connor talk about how the conversations and arguments on the Supreme Court changed as soon as there was one other woman on the Court. Suddenly, her views were amplified because there was another person in the room who could understand where she was coming from. I’ve noticed it in management meetings as well when I’m the only woman in the room vs. having at least one other, and it’s vital that women be heard and our needs be considered. So if you want to have products and services designed with women in mind, if you want women's specific healthcare issues researched, if you want better childcare, then you better make sure there are women in the room when these topics are being discussed. The best way I know how to do that is to help them. Network and make introductions. Serve as references. Give them feedback. Help them think through an issue or prepare for a presentation. Tell them how you managed through maternity leave. Advocate for policies that help women in the workforce. We all win when women succeed.

AM: How do you give of your time from a philanthropic standpoint?

SR: I so wish I had more time to give to the various causes I believe in. Right now, my philanthropic efforts are really focused on giving as much as I can in support of those causes, and to get involved where I can, which is mostly working with my girls to put together donations for various local drives. I think a lot of people - men, women, whether they are moms, dads, or entrepreneurs - struggle with adding this into the mix of their everyday lives. I’m no different.

MB: Having three young boys and running a new company is taking everything I have, so volunteering my time is something that I’ve had to set aside for now and instead focus my philanthropic efforts around giving donations of cash and goods. I feel that it’s important for my children, even as young as they are, to take part in passing along their own clothes and toys, and so we do this together whenever possible. One day, I’ll be able to give my time as well.

PHOTO CREDITS | PG 92 + 97 Nynne Schrøder | PG 95 Stephanie Retcho (left) and Melissa Birge (right)

Read more from the June Issue of Athleisure Mag and see Style, When You're Expecting in mag.