Search Results

INTERVIEW RULES: Interviews are 1-on-1 phone interviews for those based in the US & Canada. Outside the US will be 1-on-1 Whatsapp Meetings. Please provide us with the name, email address, and phone number of the person being interviewed and we will contact them at the meeting time. If your client is a product-based company a sample must be provided. Please submit images to us as soon as you book an interview. Once the interview is published we will email you the link, social posts, and/or podcast episode. We will no longer accept interviews that are supervised by PR Agents.

New York City is a social arena disguised as a dream factory. You arrive believing talent and ambition are the only entry fees, then learn—sometimes in a single night—that the city is organized less like a meritocracy and more like a caste system with better lighting. People are sized up instantly by where they live, what they do, who they know, and how seamlessly they can perform belonging. Neighborhoods operate like factions with their own codes, uniforms, and assumptions, and the unspoken message is constant: your address is your credibility, your job title is your worth, your proximity to the right rooms is your proof of value. That is why the comparison to The Hunger Games lands so hard. In that world, districts exist to keep people in their place while the Capitol feasts on spectacle. In New York, the “Capitol” isn’t a single neighborhood—it’s a network of industries and scenes where money meets attention: fashion, art, nightlife, media, finance, real estate, hospitality. The contributors aren’t confined to one zip code; they’re scattered across the city, connected by invitations, introductions, and the same rotating cast of decision-makers who determine who gets seen. The result is a hierarchy that’s not always visible until you’re living inside it, when you realize access is the prize and being perceived as “in” is often more valuable than actually being accomplished. There’s a particular archetype that thrives in this system, and New York produces it in volume because the city rewards it. This person doesn’t build a lifestyle as much as they assemble it from other people’s resources and then sell it back as personal achievement. The engine is simple: pretty privilege, social agility, and a ruthless ability to treat relationships like transactions while keeping the surface charming. Research supports that attractiveness carries measurable advantages in hiring, pay, and evaluations, and in an image-obsessed city that advantage can expand into a broader currency—invites, introductions, mentorship that isn’t really mentorship, and doors that open with a smile rather than a résumé. When appearance becomes leverage, the line between opportunity and exploitation starts to blur, especially when wealth is part of the equation. This is where “high society” becomes less a community and more a marketplace, and where the performance of luxury can be mistaken for the reality of success. New York’s status economy runs on signaling. The sociological concept of conspicuous consumption describes how people display expensive goods and experiences to communicate rank, but the modern version is even more aggressive: it’s not just owning the thing, it’s being documented with it, framed by it, validated through it. A weekend becomes a brand; a relationship becomes a press release; a table becomes a résumé. The lifestyle is the product, and the product is designed to make everyone else feel behind. The most corrosive part isn’t even the money—it’s the manipulation wrapped in softness. The person at the center of these dynamics often appears sweet, caring, nurturing, even loyal, which is exactly what makes the machine hard to clock. They know how to make someone feel chosen, how to create intimacy on a schedule, how to speak in the language of devotion while quietly optimizing for advantage. They understand that in certain circles, men with status are not just partners—they’re platforms. And because the city romanticizes “networking,” the behavior can hide in plain sight, excused as ambition, reframed as strategy, repackaged as empowerment. This pattern also thrives because it can be defended with modern vocabulary. There’s a way transactional intimacy has been rebranded as aspiration—soft life, provider energy, high value—terms that can make dependency sound like independence and extraction sound like self-care. Scholars who study “sugar” relationships and transactional dating note how participants often describe complex mixes of affection, boundaries, and benefits, and that complexity matters because it’s not always a clean villain story. But complexity doesn’t erase the reality that some relationships are structured primarily as deals, and when a person cycles through partners on a predictable timeline—each with higher status, deeper pockets, more visibility—the pattern starts to look less like romance and more like portfolio management. The friendships around people like this can feel even worse than the dating. A toxic high-status friendship isn’t loud at first; it’s velvet-rope subtle. You meet at a show, a dinner, a party where everyone is wearing confidence they didn’t earn, and you mistake familiarity for trust because the city trains you to take speed as intimacy. Over time you notice the gatekeeping: the selective invitations, the withheld introductions, the way your presence is valued when it elevates them and minimized when it doesn’t. It’s social capital hoarded like currency, because in New York relationships can be converted into opportunities, and opportunities converted into power. The “circle” stays small not because it’s sacred, but because the benefits are fragile and must be controlled. What makes this ecosystem so infuriating to people who actually work is the way it rewrites reality. The city celebrates stories of breaking ceilings, disrupting industries, building brands, and sometimes those stories are true. But sometimes the “breakthrough” is sponsored, the “brand” is funded by proximity to wealth, and the “grind” is a carefully curated narrative performed from the safety of someone else’s financial cushion. New York is uniquely skilled at turning a supported lifestyle into a myth of self-made success, and it’s uniquely punishing to watch that myth get rewarded while genuine craft and discipline are treated as optional accessories. None of this is meant to claim that every wealthy person is fraudulent or that every glamorous woman is a con artist. It’s meant to name a structural incentive: New York can reward the appearance of value more quickly than the creation of value, and when that happens, manipulation becomes a viable career path. The city’s density amplifies comparison, its media ecosystem amplifies perception, and its social scenes amplify the idea that status is a form of safety. People will do almost anything to avoid sliding down the invisible ladder, including using others as rungs while maintaining the face of kindness. If New York is the Hunger Games, the cruelest twist is that the arena is voluntary. Nobody forces you to stay in those circles, but the city makes it feel like leaving is failure, as if stepping away from the Capitol means you never mattered. That’s a lie the system tells to keep you auditioning. The real victory is learning to identify who treats life like a community and who treats life like a transaction, then choosing the former even when it’s less shiny. Because the lifestyle built on borrowing eventually comes due, and when the money, the men, the invitations, and the optics shift—as they always do—only character remains. In a city obsessed with the spectacle of winning, the quietest rebellion is building a life that cannot be bought, curated, or leveraged by anyone else.

Millie Bobby Brown’s response on the red carpet at the Stranger Things 5  premiere in London was not just a spontaneous moment—it was a message. When a photographer shouted at her to smile, and she fired back with “Smile? You smile!” before walking off, it was clear this wasn’t about being difficult or temperamental. It was about something deeper—agency, boundaries, and refusing to be reduced to a photo-op accessory. As someone who has watched Millie’s rise from the beginning—from child star to a young woman building her own brand—her moment of defiance didn’t surprise me. If anything, it felt overdue. For years, she has navigated immense scrutiny, particularly on her appearance. From tabloid speculation to fashion critiques and social media commentary, Millie’s every move has been dissected under a microscope, often in ways that are far harsher than what her male counterparts experience. The command to “smile,” shouted in a public space with dozens of cameras pointed at her, wasn’t just an innocuous request. It was a demand to perform—to comply, to entertain, to be palatable. Millie responded the way any woman who’s had enough would. Her answer wasn’t disrespectful, it was assertive. And as the editor of a publication that focuses on culture and character, I found it powerful. It showed a young woman who knows her worth and is unwilling to shrink herself to meet someone else’s expectations. In that moment, she flipped the script, reclaiming control over her image and asserting that she is not on the carpet to please anyone’s lens but her own. It’s a move that many public figures talk about, but few execute so succinctly. It’s not the first time we’ve seen celebrities push back against this kind of behavior. Artists like Chappell Roan and even industry veterans like Denzel Washington have had similar confrontations with photographers who crossed a line. In each case, the media coverage typically divides into two camps—those who call it unprofessional and those who see it for what it is: a rejection of entitlement. Millie’s decision to speak up, walk away, and not entertain the idea that she owes the public a smile reminds us how often we condition women in the spotlight to be constantly agreeable, constantly charming. What stands out to me is the context. Millie is now 21. She’s an executive producer. She runs her own beauty brand. She’s newly married. She is not the child who first appeared in a shaved head on Stranger Things  nearly a decade ago. And yet, for many fans and media voices, she’s still trapped in that image. There’s a stubborn reluctance to let her evolve into adulthood without commentary or constraint. When she refuses to smile on cue, it’s not a tantrum—it’s a conscious break from the expectations that have followed her since she was a preteen. This moment on the red carpet was also layered with symbolism. Wearing a dramatic couture gown, custom shoes that referenced her character Eleven, and standing at the edge of what is essentially the closing act of a defining chapter in her career, Millie wasn’t there just to be looked at. She was there to be seen—on her terms. The fact that she chose to shut down a seemingly minor red carpet exchange speaks volumes about where she is mentally and professionally. She’s no longer willing to be shaped by the gaze of others. In today’s hyper-connected world, that kind of stance is more than admirable—it’s essential. Young women, especially those in the public eye, are constantly balancing visibility with vulnerability. Millie’s refusal to smile on command sends a signal not just to the photographers but to fans and followers as well. It says: I am not here to make you comfortable. I am here to be myself. And if that self doesn’t feel like smiling, that’s okay. As an editor, I’ve covered countless red carpet appearances, and most pass without incident. But every once in a while, there’s a flash of something real. Unfiltered. Not curated for Instagram or rehearsed for the press. That’s what Millie gave us. She reminded us that being a celebrity doesn’t mean forfeiting your right to have boundaries. It doesn’t mean agreeing to every unspoken rule of decorum that’s long overdue for reexamination. And most importantly, it doesn’t mean performing for those who mistake access for ownership. Millie Bobby Brown’s response wasn’t about a smile. It was about self-respect. And in a world that still expects women to be quiet, cute, and compliant, her choice to push back was the loudest kind of power.

In a musical landscape driven by high-energy collaborations and a constant push for innovation, few partnerships arrive as naturally—or as impactfully—as the latest union between Steve Aoki and KAAZE . Their newly released Head Rush EP is not only a sonic thrill ride across big-room landscapes and festival-ready drops, but also a striking example of two artists syncing vision, energy, and purpose at a time when the dance world is once again bursting with creative electricity. Out now via Dim Mak Records, Head Rush is a three-track project that blends the best of both producers’ stylistic strengths. For Aoki, the two-time Grammy nominee, this release is a return to the euphoric, larger-than-life sound that made him a global icon. For KAAZE, a Swedish producer known for his emotionally charged melodies and aggressive Hōt Teknō aesthetic, it’s a chance to showcase the depth and range of his signature sound alongside one of the most recognized names in dance music. The title track, “Head Rush,” is a centerpiece in every sense. Featuring the haunting vocals of techno artist Sarah De Warren, the song opens with a powerful build layered in emotion and atmosphere. The tension slowly unravels into a thunderous drop—one that feels engineered for the peak moment in a festival set, when hands are raised and hearts are racing. The track manages to be both intimate and explosive, a duality that speaks to the creative chemistry between Aoki and KAAZE. It’s not just a track built to move crowds—it’s crafted to move listeners on a visceral level. Complementing the title track are “Self Control” and “Give It To Me,” both of which were recently debuted at Hypersonic Festival in Sydney and Melbourne. The crowd response was immediate and overwhelming, with thousands of fans reacting to the explosive sound design and immersive melodies. The EP doesn’t just cater to the mainstream dancefloor—it elevates it, reminding longtime fans of the magic that happens when technical mastery and emotional storytelling collide in dance music. What makes this release particularly noteworthy is the history behind the collaboration. Aoki and KAAZE aren’t just two producers thrown together by industry convenience—they’re longtime friends and creative partners with a history of successful projects. KAAZE previously contributed to Aoki’s HiROQUEST series with standout collaborations like “Won’t Forget This Time” and “Whole Again,” both featuring the evocative vocals of John Martin. He also remixed Aoki’s “Kyro” from HiROQUEST 2: Double Helix, demonstrating a consistent ability to elevate Aoki’s work with his own unique sonic fingerprint. This EP, however, marks a new chapter—one defined by a sense of urgency, power, and creative freedom. In an industry often defined by trends, Head Rush stands out as a project that remembers the roots of festival culture: high-octane music that creates communal highs and unforgettable moments. “KAAZE and I have been talking about doing something together for years, and this EP finally captures that shared vision: high-energy, emotional, euphoric,” Aoki says of the collaboration. “Both ‘Head Rush’ and ‘Give It To Me’ take you straight to that festival moment where everything just lifts. It’s big-room energy with heart, exactly the kind of music that reminds me why I started doing this in the first place.” KAAZE echoes that sentiment with an enthusiasm that matches the tracks themselves. “It’s always a blast to jump in the studio with Steve,” he shares. “When we started working on this EP, the goal was simple: make something that absolutely destroys the festival stage. Every drop, every melody, every vocal across all tracks is designed to make people lose themselves in the moment." That shared philosophy—creating music designed not just for listening, but for living—resonates across every beat of Head Rush. It’s an EP that demands volume, commands attention, and invites emotion. In many ways, it’s a masterclass in the balance between polish and power, between melody and muscle. For fans of Steve Aoki, KAAZE, or anyone who’s ever found freedom in the chaos of a festival crowd, this project is a reminder of why dance music matters. It’s not just about the drop—it’s about the experience. And with Head Rush, Aoki and KAAZE have delivered an experience worth chasing again and again.

Ask an Expert Book world-class experts and get 1:1 advice over a video call BOOK TODAY ROBERT WHITE Editor in Chief @ Savoir Faire Magazine, Entrepreneur, Podcast Host, Marketing Guru. $250 - Session

The Magazine, Podcast and Lifestyle brand that teaches the skills behind being Savoir Faire. Steve Aoki and KAAZE Ignite Dance Floors With Electrifying Head Rush EP CULTURE January, 4, 2026 Camilla Araujo Leaves $20 Million OnlyFans Career Behind To Focus On A New Chapter In Life CULTURE January, 4, 2026 In The Hand of Dante Premieres at the Venice Film Festival And Brings A Night of Cinema and Glamour CULTURE September 13, 2025 David Guetta & HYPATON Deliver Explosive Remix of RAYE’s ‘WHERE IS MY HUSBAND!’ CULTURE November 11, 2025 Victoria Vesce Slays The Runway At New York Fashion Week BELLE FEMME September 22, 2025 Millie Bobby Brown Stands Her Ground on the Red Carpet At Stranger Things Premier EDITOR'S REVIEW November 14, 2025 Episode 175: Interview with Legendary Actor Austin Pendleton PODCAST September 22, 2025 A Professional Glimpse Into New York Fashion Week EDITOR'S REVIEW September 14, 2025 Steve Aoki and KAAZE Ignite Dance Floors With Electrifying Head Rush EP CULTURE January, 4, 2026 Camilla Araujo Leaves $20 Million OnlyFans Career Behind To Focus On A New Chapter In Life CULTURE January, 4, 2026 In The Hand of Dante Premieres at the Venice Film Festival And Brings A Night of Cinema and Glamour CULTURE September 13, 2025 David Guetta & HYPATON Deliver Explosive Remix of RAYE’s ‘WHERE IS MY HUSBAND!’ CULTURE November 11, 2025 Victoria Vesce Slays The Runway At New York Fashion Week BELLE FEMME September 22, 2025 Millie Bobby Brown Stands Her Ground on the Red Carpet At Stranger Things Premier EDITOR'S REVIEW November 14, 2025 Episode 175: Interview with Legendary Actor Austin Pendleton PODCAST September 22, 2025 A Professional Glimpse Into New York Fashion Week EDITOR'S REVIEW September 14, 2025 Steve Aoki and KAAZE Ignite Dance Floors With Electrifying Head Rush EP CULTURE January, 4, 2026 Camilla Araujo Leaves $20 Million OnlyFans Career Behind To Focus On A New Chapter In Life CULTURE January, 4, 2026 In The Hand of Dante Premieres at the Venice Film Festival And Brings A Night of Cinema and Glamour CULTURE September 13, 2025 David Guetta & HYPATON Deliver Explosive Remix of RAYE’s ‘WHERE IS MY HUSBAND!’ CULTURE November 11, 2025 Victoria Vesce Slays The Runway At New York Fashion Week BELLE FEMME September 22, 2025 Millie Bobby Brown Stands Her Ground on the Red Carpet At Stranger Things Premier EDITOR'S REVIEW November 14, 2025 Episode 175: Interview with Legendary Actor Austin Pendleton PODCAST September 22, 2025 A Professional Glimpse Into New York Fashion Week EDITOR'S REVIEW September 14, 2025 Steve Aoki and KAAZE Ignite Dance Floors With Electrifying Head Rush EP CULTURE January, 4, 2026 Camilla Araujo Leaves $20 Million OnlyFans Career Behind To Focus On A New Chapter In Life CULTURE January, 4, 2026 In The Hand of Dante Premieres at the Venice Film Festival And Brings A Night of Cinema and Glamour CULTURE September 13, 2025 David Guetta & HYPATON Deliver Explosive Remix of RAYE’s ‘WHERE IS MY HUSBAND!’ CULTURE November 11, 2025 Victoria Vesce Slays The Runway At New York Fashion Week BELLE FEMME September 22, 2025 Millie Bobby Brown Stands Her Ground on the Red Carpet At Stranger Things Premier EDITOR'S REVIEW November 14, 2025 Episode 175: Interview with Legendary Actor Austin Pendleton PODCAST September 22, 2025 A Professional Glimpse Into New York Fashion Week EDITOR'S REVIEW September 14, 2025 Jay Bhatty Ignites Modern Ambition In Natural Gas Trading October 18, 2025 Clark Lowe Leads with Discipline and Empathy in a Changing Workforce June 16, 2025 Melissa Schneider Is Redefining What It Means to Feel at Home June 16, 2025 Pam Montgomery Preserves a Family Legacy with Chukar Cherries May 15, 2025 Robert Dilenschneider Shares Timeless Leadership Lessons in Character May 1, 2025 Why New York City Feels Like The Hunger Games Today New York City is a social arena disguised as a dream factory. You arrive believing talent and ambition are the only entry fees, then learn—sometimes in a single night—that the city is organized less like a meritocracy and more like a caste system with better lighting. People are sized up instantly by where they live, what they do, who they know, and how seamlessly they can perform belonging. Neighborhoods operate like factions with their own codes, uniforms, and assumptions, EDITOR'S OPINION Robert White 55 minutes ago 5 min read Men Must Stop Wasting Attention on Women Out of Their League Modern men are failing—not because they lack opportunity or instinct, but because they are misallocating what is perhaps their single most valuable resource: attention. In an era of infinite scroll, filtered feeds and monetized desire, men are surrendering their time, focus and even money to women who do not reciprocate, who are not aligned with their life, their values or their goals. This isn’t simply a dating misstep—it is a fundamental erosion of masculine discipline, sel EDITOR'S OPINION Robert White Nov 16, 2025 5 min read Millie Bobby Brown Stands Her Ground on the Red Carpet At Stranger Things Premier Millie Bobby Brown’s response on the red carpet at the Stranger Things 5 premiere in London was not just a spontaneous moment—it was a message. When a photographer shouted at her to smile, and she fired back with “Smile? You smile!” before walking off, it was clear this wasn’t about being difficult or temperamental. It was about something deeper—agency, boundaries, and refusing to be reduced to a photo-op accessory. As someone who has watched Millie’s rise from the beginning EDITOR'S OPINION Robert White Nov 14, 2025 3 min read Bonjour! I'm Robert, The Editor-In-Chief of Savoir Faire Magazine and I want to welcome you to my creative space. Here you can meet people that poses Savoir Faire and share their stories. Editor's Review Robert White I am currently in New York. 1 2 3 4 5

Robert White Editor-In-Chief Welcome To... The Editor’s Opinion is a candid space where Robert White, Editor-in-Chief of Savoir Faire since 2013, shares personal experiences, candid reviews, and trusted recommendations on everything life has to offer. From everyday essentials to extraordinary moments, this section delivers honest insight and thoughtful commentary—all from the editor’s distinctive point of view. Check back soon Once posts are published, you’ll see them here.