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At $600, Jamie Haller loafers arent an impulse buy, but theyve become one of those rare fashion items people evangelize anyway. The shoes, which resemble classic mens leather loafers, have quietly built a cult following thanks to a surprising claim: Fansfrom TikTokers to Wirecuttersay they mold to your feet the moment you step into them. This didn’t happen by accident. The Los Angeles-based designer spent years seeking out a factory that would be willing to make her loafers using sacchetto construction, a labor-intensive Italian technique more often found in bespoke mens footwear. Take all of the hard bits of the loafer out, she remembers telling the cobbler in her Italian factory. Just make it skin on skin so that it fits your foot like a slipper. Now Haller is betting that the same philosophycomfort engineered through old-world techniquecan translate into her next hero product. On February 12, Haller is launching sneakers. The new style is made in Italy and uses the same sacchetto construction that turned her loafers into bestsellers. I wanted to create a beauty-forward everyday sneaker that has the same very, very special construction that the loafers have,” she says. The sneaker, inspired by climbing shoes and ballet slippers, is low-profile, flexible, and subtly sculptural. It feels like a hug, Haller says. [Photo: courtesy Jamie Haller] The New Class of Luxury Brands The sneaker launch comes as Hallers business is accelerating quickly. She spent years designing for other labels, including Guess and Bebe. But in 2020weeks into the pandemicshe decided to launch her own brand. At first, the business was built around a single slipper-like shoe that was a precursor to the loafer. But by early 2023, the Jamie Haller label had grown enough that she felt ready to leave her day job. Since then, the business has taken off. Year-over-year growth was in double-digit multiples early on, and momentum has continued as the business scales. Today, about 65% of sales are direct-to-consumer through her website and Montecito, California, store, with the rest coming from wholesale. The brand has expanded into ready-to-wear, bags, and now jewelry, and is entering more stores globally. Net-a-Porter picked up the shoe line and is adding ready-to-wear this springa major inflection point for international reach. Hallers rise places her squarely within a broader shift in luxury, alongside other female designers like Nili Lotan and Trish Wescoat Pound, who design collections focused on quality and construction. Their clothes offer devoted customers a uniform they can wear repeatedly. I’m toeing the line between casual and polished, Haller says. [Photo: courtesy Jamie Haller] Making Menswear Work for Women What makes Haller’s collections stand out is her deep affinity for vintage menswear. As a child, she loved her grandfather’s overcoats, well-worn briefcases, and shoes. She scours vintage markets to find classic men’s garments that might fit her but often doesnt like how they hang on her curves. So she taught herself how to translate those garments to suit a womans figure, combining the hard edges of menswear with the sensuality of a woman’s body. It is this blending of masculine and feminine that is intriguing to her. [Photo: courtesy Jamie Haller] Haller says men’s trousers usually don’t fit her well because she has curvaceous hips. To maintain the straight, slung look of a mens trouser, she pulls seams forward and adds shape only where its needed, often in the back rise. The visual appearance is still very straight, she says, even though the pattern is doing more work underneath. That same logic applies across categories. Her shirts are cut with straighter armholes and dropped shoulders, often in Japanese yarn-dyed cottons meant to mimic the feel of a perfectly worn vintage Oxford. Its always a balance of small and big, she saysrolling cuffs, opening collars, exposing just enough of the body to create contrast. Jewelry, too, follows this masculine thread. Hallers debut jewelry collection, launched last fall, centers on chunky signet rings inspired by the rings youd see on an 80-year-old Sicilian man, she says. They arent precious everyday pieces, but styling elementsmeant to add contrast to an outfit built from polished basics. Its the styling layer you put on top of te button-down and the basic trouser, she explains. [Photo: courtesy Jamie Haller] At every stage, Haller designs for herself first. She fits everything on her own body and refuses to release pieces she doesnt love. That conviction seems to resonate with customers, many of whom return again and again. Im making clothes they can wear every day very comfortably, she says. Haller’s success reveals a shift in what women want. Many are eschewing larger, flashier designers for independent labels, brands offering understated clothing that doesn’t overshadow the woman wearing them but rather makes her feel put-together thanks to a relentless focus on quality and fit. Haller’s designs borrow the best of mensweardurability, ease, comfortwithout losing sensuality. Now her customers will be able to swap their loafer for a sneaker to add a casual touch to their outfit. I design to make myself happy,” Haller says. “If Im wearing something every single day, thats usually a good sign. And I never take these sneakers off.
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For many Black tech founders, raising venture capital is often positioned as the ultimate milestone. It signals that your idea is validated, your business is taken seriously, and opportunities begin to take shape. As the managing partner of an early stage VC firm, and a 3X Black tech founder that speaks and meets with thousands of founders a year, I can tell you the truth is far more nuanced. Venture capital can be powerful, but its not for everyone. Before chasing your first check, founders need clarity, preparation, and strategy. Fundraising is not just about storytelling or networking; its about understanding the system youre stepping into and deciding whether raising venture capital truly aligns with your long-term vision. Venture Capital Is a Business Model, Not a Badge of Honor It’s important for first time founders to understand the venture business model. Investors are not simply backing good ideas”; we are seeking outsized returns within a defined time horizon. That means VCs are looking for companies that can scale rapidly, dominate large markets, and potentially return 10x, 50x, or even 100x their investment. For founders, especially those from underrepresented backgrounds, this distinction matters. Too often, VC is treated as a symbol of success rather than a strategic tool. Before you fundraise, ask yourself these tough questions: Is your business designed to scale quickly? Does it address a large enough market? Can it grow aggressively without breaking what makes it special? If the answer is no, that doesnt mean your business isnt valuable, it just simply means venture capital may not be the right fuel for it. And thats okay. VC Readiness Starts Long Before the Pitch Deck Many first-time founders assume fundraising begins when the pitch deck is finished. In reality, thats often the final step. True VC readiness starts months earlier. It takes time to develop your story. Even at the earliest stages, founders should be able to clearly articulate who their customer is, what problem theyre solving, and why their solution is meaningfully different from competitors who are already in market. Part of that story are performance metrics, why your team, and why is this the right time. Equally important is team readiness. VCs invest in people as much as products, especially first-time founders. Youre almost betting on the person more than you are the business concept. Founders with complementary skill sets, operational discipline, and the ability to execute consistently tend to inspire confidence with VCs. For solo founders, this often means building a roster of strong advisers, impressive early hires, and/or strategic partners who help de-risk the business. The more prepared you are, the better leverage youll have throughout the fundraising process. Holding Your Power in VC Rooms Venture capital, like most industries, doesnt hold Black founders in mind, and that reality shows up in subtle and not-so-subtle ways. From biased pattern matching to lowered expectations, founders will encounter dynamics that challenge their confidence. Thats why entering investor conversations with the right mindset is critical. You are not lucky to be in the room; you earned your place there. I see founders make this mistake often. Investors are evaluating an opportunity, but you need to remember that youre also evaluating them. Not every VC is the right fit for your business. Alignment, values, and long-term partnership matter just as much as check size and valuation. Holding your power means controlling the narrative around your business, being clear about your vision. It also means taking a collaborative approach to conversation as opposed to a subordinate one. You are supposed to answer questions to VCs but youre not in a job interview. Confidence (not desperation), when backed by preparation and performance, can shift the entire dynamic of a fundraising conversation. Knowing When Venture Capital Is Or Isnt The Right Move Its important to remember that not every successful company needs venture capital. Bootstrapping, revenue-based financing, grants, and strategic partnerships can often provide growth capital without sacrificing equity or control. This is more possible than ever in the era of agentic AI. Founders need to be sure that they have a massive market, directional customer demand that validates the market, and the right team at the earliest stages. Even better is true confidence in scaling the offering to $100M+ revenue in 57 years, given ideal conditions. VCs are looking to accelerate something thats already working, not serve as a lifeline. Raising money out of desperation only leads to two possible outcomes: a bad deal from a predatory partner or no deal at all. Extraordinary people with amazing opportunities know their worth in a room. Its also important to consider, the larger the raise, in most cases the deeper the partnership with your investors. This is why setting up the correct relationships up front is key. You want to be in position to work with your board, not for your board. Take the time to evaluate whether a VC truly fits your business model, personal goals, and tolerance for risk. The Real Work Starts After the Check Clears Fundraising is often glamorized, but the real work begins after the money is in the bank. Scaling a team, managing burn, hitting milestones, and navigating investor expectations can be more challenging than raising the round itself. Post-funding success requires operational maturity, strong communication, and the ability to grow as an individual. Youll quickly find that what you did to get to level one does not work to get you to level two. This is where clarity of values matters. Founders who raise with intention and choose investors who understand and respect their vision are better positioned to grow without losing themselves Raising venture capital is a strategic decision. Understand how VC works, prepare deeply, know how to manage your power dynamic with investors, and choose the right path to build your company (not theirs). If you decide that venture capital is the right path for you, the goal isnt just to get funded. Its to build something meaningful, scalable, and sustainable on your own terms.
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Every TV and movie critic is loving to hate on Darren Aronofsky these days. The Academy Award-nominated filmmakercreator of lyrical, surreal, and deeply human movies like Black Swan, The Whale, Mother!, and Pihas released an AI-generated series called On This Day . . . 1776 to commemorate the semiquincentennial anniversary of the American Revolution. Though the series has garnered millions of views, commentators everywhere call it “a horror,” slamming Aronofsky’s work for how stiff the faces look, how everything morphs unrealistically. Although calling it “requiem for a filmmaker” seems excessive, they are not wrong about these faults. The series, created using real human voice-overs and Google’s generative video AI, does suffer from uncanny valley syndrome (our brains can very easily detect what’s off with faces, and we don’t buy it as real, feeling an automatic repulsion). But this month, two new generative AI models from China have closed the valley’s gap: Kling 3.0 and Seedance 2.0. For the first time, AI is generating video content that is truly indistinguishable from film, with the time and subject coherence that will make the 2020s “It’s AI slop!” crybabies disappear like their predecessors in the aughts (“It’s CGI!”) and the 1990s (“It’s Photoshop!”). Seedance 2.0, developed by TikTok parent company ByteDance, released in beta on February 9exclusively in China for now. Its widely considered the first “director’s tool.” Unlike previous models that gave the feeling you were pulling a slot machine lever and hoping for a coherent result, Seedance allows for what analysts at Chinese investment firm Kaiyuan Securities call director-level control. It achieves this through a breakthrough multimodal input system. ByteDance has redesigned its model to accept images, videos, audio, and text simultaneously as inputs, rather than relying on text prompts alone. A creator can upload up to a dozen reference filesmixing character sheets, specific camera movement demos, and audio tracksand the AI will synthesize them into a scene that follows cinematic logic. The results have been startling. “With its reality enhancements, I feel its very hard to tell whether a video is generated by AI,” says Wang Lei, a programmer in Guangdong who tested the model to generate a 10-second history of humanity. He described the output as “smooth in storytelling with cinematic grandeur.” One of the tricks is that ByteDance trained it on the vast video dataset of Douyin (Chinas TikTok). This gave the model the capacity to understand human nuance, which shows in the everyday shots it produces in addition to the Hollywood-level cinematic shots it can create. [Image: Kuaishou] And then there’s Kling If Seedance is the visionary director, Kling 3.0 is the rigorous cinematographer. Launched February 5 by Kuaishou Technology, Kling 3.0 has earned the moniker “Motion Engine.” While other models struggle with the basic laws of physicscars floating, people walking through wallsKling 3.0 respects gravity and light. [Image: Kuaishou] “The physics simulation finally lets you art direct motion instead of hoping for it,” Bilawal Sidhu, a former Google product manager and AI strategist, said on LinkedIn. This makes it uniquely suited to be integrated into commercial work where a product must look and behave like a real object. Commenters on Reddit were in awe of the models new abilities, especially for long takes and multishot. [Image: Kuaishou] Klings major breakthrough is its Elements feature, which allows users to upload reference videos to lock in character consistency. Before, generative video AI would change the characters’ faces at random, like in Aronofsky’s series. With Kling, they always look exactly the same in any shot it generatesa holy grail feature for filmmakers who need actors to look like the same person from shot to shot. It doesn’t just generate pixels; it understands narrative pacing, cutting, and continuity. The level of realism is so high that Kaiyuan Securities believes the new model is positioned to be widely adopted first in AI manga and short drama areas, bringing down costs and improving efficiency to benefit companies with large holdings of intellectual property or traffic. The markets agreed. The release of these models immediately sent shockwaves through the Chinese tech sector. Digital content company house COL Group skyrocketed in the anticipation it will use these models. Shares in studio giant Huace Media and game developer Perfect World rallied 7% and 10% respectively. Investors arent betting on a toy; theyre betting on the total replacement of traditional production pipelines in gming, film, and publishing. An industrial revolution for the visual arts For many professionals in the trenches, generative AI tools are not toys; they are the new standard. Julian Muller, an award-winning director and creative producer, told me the shift is already visible to everyone. “Just from what I saw in the Super Bowl commercials on Sunday, many incorporated AI elements to achieve creative results. We are definitely at the beginning of a shift in what is possible under tighter timelines and leaner production investments, Muller says. I’d say these models [Seedance 2.0 and Kling 3.0] clearly can produce stunning visual results, Muller tells me, noting, however, that theyre not perfect. They are very close to being indistinguishable from real production footage, yet I think there is still a detectable artificial quality to it. Muller does believe that we have passed the point of no return. “Directors and producers who don’t use AI tools to enhance their projects will soon become the exception and not the rule,” he says. “This is te future, and we’re definitely not going back.” This sentiment is echoed by Tim Simmons, a 17-year Hollywood veteran who analyzes the industry on YouTubes channel Theoretically Media. He told me that while big studios are paralyzed by their own infrastructure, indie creators are adapting. “Adoption at the large studios will remain slower because of the rigid postproduction specs that necessitate building customized AI workflows,” he says. “The challenge is the time required to build such a workflow versus the speed at which AI models are evolving.” Basically, by the time the studios have finished constructing your bridge, the river has moved 150 miles to the north, he points out. Setting aside the complex discussions regarding unions and talent for a moment, its safe to say that through 2026, you’ll see tentative steps from larger studios, Simmons says. But for indie studios and international production houses working outside the traditional Hollywood system? Utilization will rise rapidly. A demo video from the Kling 3.0 announcement [Image: Kuaishou] No soul in the machine Not everyone is ready to embrace the algorithm, of course. While the technology has nearly conquered the visual uncanny valley, a deeper, emotional chasm remains. “I dont think weve ever been amazed and saddened like we are today,” Peter Quinn, a VFX artist and director known for his surreal, handcrafted effects, told me via email. “Spectacular art has just become so dull,” he says. Quinn argues that we value art not just for the final image, but for the human struggle behind itthe painter mixing colors, the stop-motion artist moving a puppet millimeter by millimeter. “Kling 3.0 and Seedance 2.0, while spectacular, are 2026s latest shiny AI toys . . . capable of generating soulless marvels, birthed in a data center somewhere,” he says. “Its interesting how the wow fades when we hear its AI.” In fact, Quinn is in the process of creating a TV docuseries about the anti-AI. Titled The Creators, it intentionally features dozens of “real” artists whove found interesting ways to express creativity by leaning heavily into showing the process, time, and effort it takes to make something. We see a painter mixing and painstakingly applying paint to a canvas over days, stop-motion artists timelapse of weeks of tiny well-considered adjustments, a dancer getting it wrong, a collage artist cutting hundreds of pieces by hand, an artist who can create photo-real pencil sketches, a sculptor who knows the nuance of clay, or a photographer who sees something nobody else does, he tells me. It just feels like its time. [The] time it takes is what makes it valuable and worthy of looking at or hanging on a wall. Titans of the industry share his skepticism. Guillermo del Toro has famously dismissed AI art as “an insult to life itself,” while Breaking Bad and Better Call Saul creator Vince Gilligan says he wont use tools that remove the human element from storytelling. In Pluribuss credits there is a line that says that humans proudly made it. Maybe TV and cinema will bifurcate between a minority of human-only-made art for the galleries and the purists, and algorithmic content for the masses. Just like there are fanatics of real film, like Christopher Nolan and Quentin Tarantino, who refuse using digital cameras like everyone else in the industry. A demo video from the Kling 3.0 announcement [Image: Kuaishou] The new impressionism I understand Quinn, Del Toro, Nolan, and every purist out there. But, from a historical perspective, it really doesnt make a lot of sense. Despite the existential angstand leaving aside the huge problem that this will cause in terms of jobs and copyright issues, a topic for another articlethere is reason for deep optimism. We are standing at a moment in history that mirrors the state of art in the late 19th century. Before the industrial revolution brought us the collapsible paint tube and pre-stretched factory-made canvas, painting was an expensive, studio-bound endeavor reserved for the elite who had the patrons that would pay them enough for them to grind their own pigments. The industrial revolution in paint manufacturing liberated every artist. It allowed Monet and Renoir to leave the studio, go outside, and paint the light. It birthed Impressionism. Seedance 2.0 and Kling 3.0 may be the paint tubes of cinema and TV, which has seen its cost go down with the analog and video revolutions, but its still reserved for a very few. Those modelsand the ones that will come next from Google and otherstruly open the gates for true AI-generated stories that will feel as real as the ones produced with real people, whether the purists like it or not. Simmons believes “there is a ‘new media’ coming that isn’t ‘just movies but cheaper.’ It will be interactive, generative, and personalized in ways we can’t fully articulate yet, he says. I dont think we have the language for it yet. Right now, we are looking at the internet in 1990 and asking, ‘How will this change the fax machine?’ The answer wasn’t a better fax machine.” I believe that he is right. By lowering the barrier to entry to zero, Seedance and Kling are inviting billions of people who have never held a camera to tell their stories. With the uncanny valley closed, the gatekeepers are gone. The only thing left is to see what humanity decides to paint with this terrifying, wonderful new brush.
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