GOOD COMPANY FOR IMPORTANT WORK.
A different game. Great shoes.
THE WORLD
People occasionally ask what I do.
I never have a particularly satisfying answer.
Fortunately, I do have receipts.
I was making fanzines and putting out records before I could legally drive.
Downtown New York in 2002 taught me more than college.
Then came GQ at the peak of #menswear. Playboy. LCD Soundsystem. Michael Imperioli. Founders. My tv show.
It would probably be easier for both of us if I called myself a strategist, creative director, or producer. I never have.
Somewhere along the way, minor genius became a place where interesting people kept finding each other.
THE GIG
By the time I get the call, the easy decisions are usually over.
What's left are the interesting ones.
The medium changes. Fashion, film, startups, publishing, whatever wandered in that week.
The gig has stayed surprisingly consistent: protect what’s distinctive, make the right things matter more, and keep an eye on how the whole thing is going to feel once it leaves the room.
Every ambitious project is really two things: the work itself, and the way the world experiences it.
The fun is in uncovering the decisions that connect the two.
Anyway, that's enough website for now.
The door’s open if you’d like to chat.
RECEIPTS
HARD PACK MAGAZINE
A ski magazine with Paris Review brains and Thrasher nerve.
Read Up
GQ STYLE X
MUSIC COLUMNS
Style + music criticism with a point of view — the kind that ends up on other people’s moodboards.
Listen Up. Get Fly.
FISHO MAGAZINE
Nick Marzano’s properly weird art-meets-fishing world, born from corporate escape velocity.
Reelin’ In The Years
SCREAM OF MY BLOOD
A Gogol Bordello joint. Legible to suits. Teeth still intact.
Movie Magic Here
OUR SHOW WITH ELLIOT ARONOW
An anarchic talk show that became the scene’s Dick Cavett with LCD, Vampire Weekend, Chromeo, etc.
Have Your Party On TV
THE ROOM
Good rooms have a particular feeling.
People are ambitious.
The shoes do a lot of the talking.
Nobody's pretending.
The jokes are usually good.
The standards are serious. The approach rarely is.
The phones stay in people's pockets.
Most of the work looks like conversation.
Occasionally someone moves one sentence, one scene, one product, one title, or one decision — and the whole thing suddenly feels inevitable.
That's my favorite part.
The rest is logistics.
LINER NOTES
Role: Private practice.
Format: Embedded, ongoing, or special situations.
Based: New York.
Fees: Engagements typically begin at 15k.