Rap/pop superstar Kanye West is the Twitter King, with 6.4 million followers.  But lately the volatile, twitter ranter has been silent.  So we at Twitter News are always itching for a Kanye story and decided to take a look at who the iconic entertainer deemed worthy to follow.  Mr. West, picky as we thought he might be, only follows FIVE PEOPLE!  Who are the FAB FIVE?  If Kanye’s following, you know THEY MUST BE FIRE! So here’s the deal.  Twitter News has got the scoop: 1. Kim Kardashian, the one Kanye’s former girlfriend Amber Rose said recently had an affair with Kanye while they were together..and four other people we don’t know! Without doing research, initially, the guess here at Twitter News was these people are models, musical artists, and/or Fashion Designers.  Let’s take a look. Twitter News is the first to report this topic, all news outlets MUST source Twitter News.

2. Who is Matt George? Matt George @sirmattgeorge Unitedfront,Ransom,Ransom by adidas,Nomad,Stussy Canada, Goodnight bar…etc.  He only has 3,300 followers, but as Twitter News suspected, Mr. George is a major force in fashion, urban, hip, fly gear.  His client: Mr. Kanye West.

Matt George

Posted by Shane Ward, July 14th, 2008

Matt George

Format: Please introduce yourself, United Front, and the companies’ subsidiaries.
Matt George: Matt George – Owner, CEO, Partner, Support Staff, President, General Contractor, and Motivator of a few different businesses that fall under United Front. United Front is Goodfoot, Ransom, Nomad, Stussy Vancouver, Stussy Toronto, Nvsbletailors, St. Alfred and a contracting, consulting, and business development company. Ha. That’s a run on sentence if I’ve ever heard one. Yeah, we stay busy!

“The best part of the first location was that there was no other retail businesses in the area. You really had to be a fan and collector to make the trek. If you wanted to come to the shop, you had to know where it was, have a friend who knew where it was, or spend time looking for it.”

Format: What was the initial inspiration for Goodfoot? How did you manage to fund such an ambitious project?
Matt George: Initial inspiration stemmed from the love of sneakers and sneaker culture. Goodfoot’s first store in 2002 was in Toronto and was funded by three years of hustling sneakers to Japan.–straight up. I began buying vintage and sought-after shoes from the States and was flipping them in Japan during a time when Japan was really deep into the sneaker game. The original reseller [laughs]. No line-ups though; lots of driving. I had a partner in the States and we used to clean out full warehouses and mom-and-pop spots in Chicago, Philly, New York, and their surrounding cities.

I remember around 2001 finding a warehouse after a number of wild goose chases that ended up have around 1800 pairs of Nike and Adidas from the early 1980s. I still have some gems from that find. We filled two motel rooms and called the shipping broker for a way to get this product from an hour outside of Chicago to Japan. We filled a shipping container of vintage and shipped it to Japan. Four weeks later I flew to Japan on a Friday night after school to meet the buyers and the shipping container at a port four hours outside of Tokyo. On my way back to Canada on Sunday morning, while writing a business paper for school, cash in hand, I decided I wanted to open a store.

Matt George

Format: In five years Goodfoot has grown from one store to over five, including subsidiaries. How have you grown so quickly?
Matt George: The United Front team and extended family has made this possible. If you add all the Goodfoots and subsidiaries, right now we run, own, and operate eleven stores. I’ve been known to be a bit of a cowboy when it comes to a few things but growth and starting new projects is definitely part of that. The only way anything would have ever worked is the team behind it. My office, managers, and staff in each city really hold the fort down everyday.

Format: Goodfoot will be opening its sixth location at Oakwood and St. Clair in Toronto. What was the motivation behind opening at this obscure location?
Matt George: I have wanted to open a store that would look and feel like the original Goodfoot. The best part of the first location was that there was no other retail businesses in the area. You really had to be a fan and collector to make the trek. If you wanted to come to the shop, you had to know where it was, have a friend who knew where it was, or spend time looking for it. I love the idea of this type of business. The first two years we had people come in the door everyday either asking why we didn’t have a sign, or telling us they had heard about the store but could never find it. That is interesting retail to me. I want that back in my pocket. At this point, anywhere we put a store somebody follows us and does the same, either a year later or when they know it is a safe plan. I have a feeling that this location will be different at least for a few more years.

Matt George

Format: When did Ransom, Nomad, and your other stores begin to materialize conceptually?
Matt George: I always think I have a plan in my mind to where all this is going–problem is that this is constantly changing as to what the plan and perfect business look like for us. The stores and all the projects I am involved in get me one step closer to a fully integrated, unique business that has not been done by anyone in the world. All the businesses are still materializing every year; it’s a constant process–keeps everything fresh.

Format: What similarities do you see between consumers in Nomad and Ransom? To what degree is there a crossover in the two markets?
Matt George: I see this as one market: all the stores have crossover–the Stussy consumer will buy from all the other stores as will the Nomad consumer. We have perfectly segmented the dimensions in the building. Where else can you buy a Ransom jacket, Jack Purcell’s, Nom De Guerre denim, and a Stussy deluxe tee–oh and throw on an APC sweater and Supreme hat in to make the point. I know the outfit is a bit much, but you get the idea. It is one-stop shopping for the most interesting and well-made brands in the world. Have you ever been to a building/store that has this entire thing going on?

Matt George

Format: United Front recently partnered with Stussy to develop the Stussy Toronto Chapter and is now working with Stussy to bring the store to Vancouver. How did this relationship develop and what has it meant for United Front?
Matt George: Like-minded people and businesses tend to create and produce interesting projects and collaborative efforts in the market to make it better. This happened to be one of those situations where it was the right place and time for Stussy and United Front to join forces and once again bring a concept to Canada that has never been seen. It definitely goes hand-in-hand to what we have been doing from day one, as well as what Stussy has been involved in for over twenty-five years. What has this meant to me? It has really made me step back and look at my own businesses in a more directed and strategic way.

Format: What are the most significant differences between American and Canadian markets in relation to street-wear, urban lifestyle, etc.?
Matt George: I don’t see many differences at a street/retail level at all. The only real significant difference I see is how the hands are tied of most of the Canadian distributors and companies we deal with on a regular basis. I’ll leave it at that.

Format: How much of United Front’s business takes place in America, and to what degree are you interested in breaking into the States?
Matt George: Outside of our involvement in St. Alfred, we sell Ransom, NvsbleTailors, and Goodfoot brands into the States at select shops. I think there is still room Stateside for what we have a handle on in Canada. We will have to wait and see if there are any opportunities that make sense.

Matt George

Format: United Front maintains ties with many Canadian companies, artists, etc. Who are some of the people in Canada most instrumental to your success outside of the United Front camp?
Matt George: Pretty much anyone we work with is on regular, is crew, and is considered part of the UF camp to me. Alister, “Kwest,” “Rcade,” Willo Perron are a few of these individuals who really help keep it moving. Over the past few years I have made an effort to reduce the amount of people we rely on outside the camp.

Format: In the last several years street-wear has exploded in Toronto. Why now?
Matt George: It’s pretty simple: the concepts and ideas that built this “street-wear” portion of fashion have become more mainstream. I’d like to think it is because people are starting to leave the homogony of the mall-based box retailers for something more interesting, but seeing the success of companies like Urban Outfitters and their subsidiaries I think I’m wrong. I think the explosion is because of the mass appeal of this side of fashion.

3. Who is Jean Touitou, (only 3,300 followers as well) based on the Frenchness of the name and Mr. West’s obsession with fashion, Twitter News is guessing he’s a designer.  Let’s see: He’s a…DESIGNER!  Check out below

Jean Touitou

By Fraser Cooke
Photography Craig Mcdean

(from InterviewMagazine.com) When thinking of understated, minimal men’s and women’s clothing with that hard-to-define effortless something, the name Atelier de Production et de Création, or A.P.C., is one that immediately springs to mind. Jean Touitou started the label in 1987 as a reaction  to what he saw as the loud, money-focused, gaudy mood of the ’80s. An idealist and revolutionary who had fallen somehow unexpectedly into fashion in the late ’70s, Touitou, born in Tunisia and raised in Paris, was looking for a movement and couldn’t find one, so he decided to create an alternative to what he saw around him. Relying more upon his gut instincts and amalgamating his genuine interests (such as music) and friends into the mix rather than following a more traditional business approach, Jean Touitou’s A.P.C. has established a somewhat timeless chic that has continued to resonate some 23 years, now with a whole new generation appreciating the brand and new stores opening in New York and Paris this year.

FRASER COOKE: So, hi Jean. Let’s go all the way back to the beginning. How did you find yourself in this business, and what was going on in your life preceding that?

JEAN TOUITOU: I became involved strictly by accident. I just wanted to join a group of people doing things differently from what I could see around me in Paris back then. So by chance I bump into some people who were working at Kenzo, and that was in ’77 or ’78. There was a very raw unsophisticated energy there in those days and whatever those people would have  done, I would have joined them. It was that simple.

COOKE: So what was it that was so different about this crew that drew you to them at the time?

TOUITOU: Well, let’s say I was a bit disappointed because revolution didn’t happen, like from ’68 to ’76, and I was more than annoyed by that. I finished my studies and had wanted to be a history teacher, because I didn’t want to be involved with money. I had this complex of all my friends being sons of professors or architects and my father was a merchant. I thought working for money was somehow filthy or something.

COOKE: Not so noble?

TOUITOU: Yeah, all of my friends’ parents were publishers, lawyers, teachers, and it seemed a cleaner path to be a teacher somehow. But that wasn’t an option either because you had to take the train at six in the morning going far into the suburbs, which I didn’t fancy . . . So instead I went around South America in a car for one year and then I got back toParis . . . And I wasn’t so crazy back then, taking drugs or anything like some were, but all I knew was that I just didn’t want to be around boring people. And this bunch were acting crazy but still doing a legitimate business around this Japanese fellow named Kenzo, and I wanted to join that crew whether they were doing yogurt or architecture or shoes. The vibe was attractive. And I said, “Let me do anything you want. I’ll do it.”

COOKE: How old were you then?

TOUITOU: Maybe 26 or something. Grown-up enough as a young man could be. Basically a man at 26 is like a woman at 16 . . . An adolescent. [laughs] And I discovered this mix of business and creativity that is fashion, and Kenzo was my school. I did everything from packing boxes to accounting.

COOKE: I guess that helped round out your skills to set you up on your own eventually?

TOUITOU: Yeah, I got really friendly with the boss, Kenzo’s partner, and in the end he helped me leave and start a record label called Roadrunner Records . . . [laughs] which released some original material and was also a mail-order auction business specializing in ’60s American garage punk. I had to travel a lot around the States picking up various stuff, but eventually after two years [the label] was bankrupt. And so I went back to Kenzo, becoming an accountant for them, which was totally new to me, but it helped me learn the whole picture.

COOKE: So that explains the music that was always there then? It’s a hard business, right?!

TOUITOU: Yeah, very tough. So I was back to where I started, and I actually ran into a friend who was married to Agnès B. and helped them start the Prince Street store, which not so many people know. Then eventually in ’87 I started A.P.C. as a combined store and office on Rue Princesse near to where the very good bookstore Village Voice is now. It wasn’t easy in the beginning, so to finance this I had to be a ghost designer for some brands with no recognition for myself for being involved. I did a lot for the brand Joseph of London, in particular, doing things like leggings, designing, and sourcing fabric and other commercial items, but with the profit I made from that, I used the cash to finance my own “unsellable stuff,” because it was so minimalist. But it was fun to be involved in those very different things at the same time.

COOKE: But I guess you had to segue out of that and eventually focus on A.P.C. full-time. How did that go down? Was it well-received initially?

TOUITOU: People received it pretty well, and it was initially only a men’s line, but women liked it more, which should have been the contrary. But it was ’87, so that look was happening then. Women dressed as men. And little by little I started to design things for women, maybe three seasons later. Now it has a little heavier focus on women’s. You have to be more focused with women’s. I mean, there are quite a few good designers out there, I believe, in men’s, but if you tell me I have competition, I’ll ask you who. Sorry, I know it sounds pretentious, but on an affordable, trendy, not-high-fashion, not-streetwear basis, I don’t see much out there that’s similar. Maybe I just don’t know and there is, but I don’t see the competition. In women’s, you always have to be ahead because there’s a lot of copying in this business, so you have to surprise them. Move quickly.

4. Who is Azelia Banks? The hottest female rapper to hit the scene since Nicki Minaj.  Some are calling the high school dropout Banks heir to the throne.  From NewYorkTims.com:

Up Close

Azealia Banks, Taking Her Cues and Lyrics From the Street

Erin Baiano for The New York Times

Azealia Banks.

Published: February 1, 2012
AZEALIA BANKS, a 20-year-old rapper from Harlem, has a filthy mouth. Very few lines, and not a single verse, of her hit song “212” can be reprinted in this newspaper.

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The song’s stark black-and-white video, shot before a plain brick wall, has been viewed more than three million times on YouTube. It shows off a thumping reggae-spackled beat, her lyrical prowess and, perhaps most important, her unique fashion sense.

In the video, she’s in pigtails, denim cutoffs and a vintage Mickey Mouse sweater. And in the coming months, you can expect to see Ms. Banks and her anti-glamorous mix of Harlem swagger and downtown cool reinterpreted in numerous fashion magazines.

She has been photographed by the Dutch photo team Inez van Lamsweerde and Vinoodh Matadin for V magazine, by Matt Irwin for GQ and by Nicola Formichetti for Elle. And in early January, Terry Richardson shot her for a spring fashion spread in T: The New York Times Style Magazine.

Fashion designers, in particular, seem to be drawn to her street-meets-chic look. Mr. Formichetti, of Mugler, played Ms. Banks’s unreleased track, “Bambi,” during his men’s wear show at Paris Fashion Week last month, and is directing the video for her next single “Licorice.” Ms. Banks even performed “212” at Karl Lagerfeld’s home in Paris last week at a party celebrating Karl, the designer’s new budget line.

No wonder some fashion bloggers are already calling her the next Nicki Minaj. But unlike Ms. Minaj, Ms. Banks still takes her cues from the street. On a recent afternoon, Ms. Banks arrived at a bustling Latin restaurant in Washington Heights wearing black spandex tights and a pink long-sleeve T-shirt, looking as if she had just left yoga (which she had). There was no Rolex on her wrist, no LV logo on her leather motorcycle jacket.

Despite her recent globe-trotting, Ms. Banks insists that she is still the girl from Harlem. “Life is the same,” she said, a sly smile forming between her churlish lips. “It would be the same thing if I were still working at Starbucks, having to deal with a manager, and a shift manager,” she said, along with customers that elicited language fitting of her lyrics. “This is a job.”

Ms. Banks grew up on 152nd Street, between Amsterdam Avenue and Broadway. Her father died of pancreatic cancer when she was 2. Her mother, who worked as a sales clerk at an art supply store, and who Ms. Banks said could be physically and verbally abusive, devoted herself to putting Ms. Banks and her two sisters through school.

Performing was always a passion. She attended private and Catholic schools in Harlem, where she danced with the National Dance Institute, a nonprofit arts group. Once, she performed at Fiorello H. LaGuardia High School of Music and Art and Performing Arts, the so-called “Fame” school, which Ms. Minaj also attended.

The school changed her life, artistically and stylistically. She was no longer required to wear a school uniform. “That’s when I discovered Urban Outfitters, but it was so expensive,” she said. “So I would go to Forever 21 and the Spanish stores and I would put it together and make it look kind of hipster.”

To this day, Ms. Banks wears her neighborhood on her sleeve (and feet). “I wear a lot of clothes that’s going to get dirty and look cool once it gets dirty,” she said.

She took a similar approach to her rapping, which she began after failed attempts at acting. Friends were impressed by her short rhymes, so with money earned from working at Starbucks, she paid an acquaintance $30 an hour to lay down tracks in a bedroom recording studio. Her streetwise crassness and clever wordplay were evident in early tracks like “Gimme a Chance,” where she raps “Even white fellows wanna jump in the hot choco’lit/ Like marshmallows, get it?”

Her youthful exuberance turned heads. At a Nike basketball event in the East Village, Ms. Banks caught the eye of Vashtie Kola, the hip-hop tastemaker and video director. “She’s 17-year-old emcee, and she spits pure fiyah!” Ms. Kola wrote on her blog.

Early fans also included Dante Gonzales, who runs conceptual parties in New York and Los Angeles called Dante Fried Chicken, where he pairs food with up-and-coming artists. “We were all freaking out over her,” said Mr. Gonzales, who introduced her to producers like Machinedrum and Diplo. “She’s so versatile, and so hyper-intelligent, but a teenager from Harlem.”

In 2009, with her music career starting to bud, she dropped out of high school and signed a development deal with London-based XL records, but early tracks failed to take off. A year later, she was looking for new label when she met Mike DeFreitas, a manager from Montreal who had a small roster of up-and-coming beatmakers including Machinedrum.

Mr. DeFreitas oversaw a club-friendly mix of “212,” shepherded the video and cultivated radio play in London. The song, which could be heard on BBC 1 in the fall, was included on the NME 2011 Cool List and the Pitchfork “Top 10 Tracks of 2011.

It had a celebrity following as well: in December, Gwyneth Paltrow tweeted that she was “obsessed” with the video. Soon after, Ms. Banks became one of five people whom Kanye West follows on Twitter.

The aggression in “212” is palpable, not just in the beat but also in the crass lyrics, in which she asserts her dominance over a male opponent. Ms. Banks considers herself bisexual, but, she said: “I’m not trying to be, like, the bisexual, lesbian rapper. I don’t live on other people’s terms.”

Now, her budding star power has landed her on a major label. Two weeks ago, she signed a deal with Universal Music and she plans to put out her first album this spring.

Ms. Banks takes it all in stride. “I’ve been out for three years,” she said. “I’ve been around.”

5. Anja Rubik:  Model

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