It’d be easy to confuse Asher Levine’s Tribeca basement studio for a special effects laboratory rather than the work space and showroom of one of Hollywood’s favorite emerging menswear designers.

Inside the door stands a cloaked and hooded figure in a red-ribbed death mask. Farther back, there is an assortment of horror-movie ephemera hanging from the ceiling and lying in glass cases: skull-shaped caps, rubbery monster gloves and a gigantic mold of what looks like a tyrannosaurus egg. In the middle of the room, veined human-size bat wings bloom out of slim leather jacket, a grotesquely beautiful Alexander McQueen vision in polyurethane.

On the Tuesday before New York’s Fashion Week, a group of young men joked around in the studio, taking off their clothes to show off tattoos and abdominal muscles. Unlike their female counterparts, these models come in varied sizes and ages: there was a 6-foot-4, soft-spoken Channing Tatum lookalike who was only 16, a 38-year-old with a grizzled two-day beard and a meaty build, and the emaciated blond Beau, who resembled Pete Doherty as rendered by Larry Clark.

“Don’t let anyone tell you that girl and boy models are the same,” explained one hunk. “We don’t have eating problems, and we know that you don’t mix Adderall with Molly.” (Molly is a pure form of the synthetic drug Ecstasy.)

Half the models claimed to know the downtown designer personally, even as Mr. Levine—a 24-year-old who could be a model himself, discounting his height—slipped into his studio unnoticed and walked right past them.

In the past three years, Asher Levine has risen to cult celebrity status, or at least to cult status among celebrities. His costumes have been worn by the Black Eyed Peas, Bruno Mars, the Scissor Sisters, Jared Leto and, most famously, Lady Gaga, who was chicly adorned in Mr. Levine’s straitjacket-inspired dress during a 2010 paparazzo clash and poured into a Levine-designed post-apocalyptic black rubber body-hugger in her “Marry the Night” video.

Mr. Levine began his label by using himself as a sandwich board, biking around the West Village in “the most outrageous leotards and wrestling singlets of neon colors,” recalled artist Slava Mogutin, a friend and collaborator. The flashy costumes were unconventional, but his ambitions were not.

Mr. Levine graduated from Pace University with a degree in business management in 2010. Unlike many young designers who find themselves in debt and adrift before attaining commercial success, Mr. Levine is very mindful of his bottom line. He has exceeded his own projections by 50 percent each of the last three quarters, despite continually pressing his figures higher. Fueled in large part by his celebrity following, he’s gone from being a one-man design shop to overseeing approximately 35 employees, including head of production Tim Dejsiriudom and communications director Stefan Golangco.

Being business-savvy isn’t the worst thing for a designer. His company is contractually obligated to keep investors updated on emerging technologies and their possible uses in fashion. Mr. Levine writes these reports himself, along with his company’s quarterly projections. Since most of the money comes through custom designs and celebrity clients, Mr. Levine and his crew will look for the release date of a previous client’s new album—the designer gave will.i.am as an example—and plan on making something for the tour. While he also has an online store featuring bespoke creations, Mr. Levine does not currently have a ready-made line.

“We’re selling a lifestyle,” The Observer was repeatedly told by Mr. Levine, as well as by Mr. Golangco and Mr. Dejsiriudom. And though the lifestyle in question has been branded “rock star” by the team, it may as well be “futurist.”

As absurdly impractical and theatrical as some of his high-concept costumes may be, the idea behind them is a sort of 21st-century functionality. For example, Mr. Levine’s next line will feature microchips embedded in the clothing. The chip will be linked up to its owner’s cellphone, and in case you lose one or the other, you can either call your jacket or trigger your trousers to make the items beep until they are discovered.

“Imagine ... you’ll never lose your phone again,” Mr. Levine proudly told us. He's working with the software company Phone Halo to develop the project. Later, Mr. Golangco would describe the microchips as a way “to never lose a piece of Asher Levine clothing.”

Mr. Levine’s theme this season is “theatricality,” an apt description for a floppy vest-and-pants combination made out of black silicone and a neoprene compound. (“It’s kind of like a wet suit,” Mr. Levine admitted.)

Inspired by one of his friends, ’80s power-ballad rocker Jim Steinman, this season’s show—set in the MMAC studio on West 60th—is a twist on the lyricist’s classic “Total Eclipse of the Heart.” Mr. Levine hired a animator to come up with 3D graphics for the show’s intro. And if this all sounds a touch melodramatic, you should have seen the fall show.

“Last season, we held the whole production on a yacht off the pier,” Mr. Dejsiriudom, a small, stylish pixie boy, told The Observer. Turn around, bright eyes.

The season before that, Mr. Levine tapped into the then-unheard-of trend of 3D printing, with models sporting eyewear from MakerBot. The founders of the additive manufacturing company were in attendance along with their machines, and after the performance, audience members were encouraged to go up and get a tutorial on the cutting-edge technology.

On Saturday evening, the basement studio was unusually quiet for a fashion house three days before showtime—the Asher Levine show was slated for Tuesday night at 7 p.m.—and though people kept paying lip service to how “insane” everything was, the subterranean experience was almost cozy.

Mr. Levine was unperturbed when he found out that instead of 12 looks for the show this season, stylist Andrew Mukamal had mixed and matched the outfits—which ranged from a wool sweater inlaid with rubber diamonds to an oversized cape with an unusually large, stiff cowl—to a final 16.

“Oh,” said Mr. Levine, sporting a homemade tie-dyed terry sweater that he would wear all week. “That’s really great.” Mr. Golangco was less pleased, as he now had to find at least two more models.

Pizza and Thai food were ordered, the interns dyed denim in giant vats on the stove and the DIY dynamic was palpable: everyone pulling together to create a large artistic experience. The scene could have taken place in Bushwick, except for the fact that no one was worried about bedbugs.

Expected at the show was the eclectic mix of VIPs, trendsetters and fashion journalists who have become part of Levine’s fan base. Angela Simmons, rap star Waka Flocka, skate star Johnny Weir, fashion editor Eddie Roche, luxury lifestyle consultant Jesse Garza, Bruce Pask and Jason Rider of T Magazine. Longtime fan and friend Jared Leto isn’t on the list for this season’s show, but he has been in the front row for seasons prior.

Fataah Dihaan, creative director of the art video website ARCADE 44, spoke of Mr. Levine’s following: “Sure, you’ll see Jared Leto at the shows, but then there’s those kids on the club scene, they’re constantly wearing Asher Levine. They’re creating trends in the social/nightlife scene, and those kids have their pulse on what’s going to be next.”

For Mr. Levine and his crew, “next” means looking toward how they plan on selling their product. “We’d love to get into a high concept store like L’eclaireur in Paris, or Barneys, or I.T. in Hong Kong,” Mr. Dejsiriudom told us. “All the high-concept stores.” Mr. Levine also told The Observer that he’d like to see his line sold on Fab.com.

“All these online stores, that’s the future,” Mr. Levine said, returning to his bat jacket, which had spouted six new wings since we first arrived. “That’s where a lot of emerging designers should be looking.”

He should know.

Ms. Wolkoff in her Midtown office. (Emily Anne Epstein)

In the 31st-floor offices of SWW Creative, the walls are beige, the carpet is gray and the cabinets are standard-issue wood-grain. There’s no Eames armchair, no runway stills splashed across the walls, not even a lucite coffee table with a copy of Grace Coddington’s memoir. There’s not a flower in sight.

While fashion professionals are known to obsess over the color of their pens, SWW Creative’s offices are about as splashy as an insurance agency’s. Stephanie Winston Wolkoff is not concerned.

Ms. Wolkoff, who orchestrated Mercedes-Benz Fashion Week’s Lincoln Center expansion, isn’t in it for Smythson notebooks or a pair of Céline fur sandals. She is an executor first and a fashionist somewhere further down the line, finding more satisfaction in a spreadsheet than an Avedon. Though she’s a front-row fixture and a special-occasion catwalker, she doesn’t scour the runways for her own closet. Instead, Ms. Wolkoff, who stands a statuesque 6-foot-1, prefers the simplicity of a uniform—Ralph Lauren is her everyday.

“The outside world thinks that Fashion Week is so amazing and so glamorous and so over-the-top,” said Ms. Wolkoff, who has been overseeing the twice-annual event since 2009. “Is it important to have celebrities there? Great. Is it important to have the athletes in the front row? Super. But the truth is, this is a business.”

And yet, by acknowledging as much—and reimagining Fashion Week as populist and business-friendly—she has rankled fashion’s artistes, who feel that recent changes have given the event a noticeable odor of commerce. Under Ms. Wolkoff’s tenure, corporate sponsorships have taken center stage in a lobby concourse that more closely resembles the Javits Center than the heart of couture. Also, for the first time, there are events for the public, in the form of fashion-art collaborations with Lincoln Center’s performance groups. It’s gone from a tent to a circus.

“Lincoln Center is amazing—they have amazing facilities, they have everything you could possibly need,” said Stefan Golangco, the communications director of progressive menswear line Asher Levine. “But our brand is also about being underground and being off-schedule and being a little bit ... maybe less commercial. [Showing at Lincoln Center] doesn’t feel unique to your brand, especially if you’re a small label. You kind of get lost in the shuffle.”

While Fashion Week may be a few days longer now and may feel bigger (the tents certainly are), the number of shows in its main hub hasn’t grown materially since Ms. Wolkoff entered the mix. The total number of designers showing at Mercedes-Benz Fashion Week itself has remained pretty much the same—the big explosion has been predominantly offsite. In 2007, when Fashion Week was still at Bryant Park, 90 designers showed at Mercedes-Benz Fashion Week while 165 showed offsite. Last year, 91 designers showed at Mercedes-Benz Fashion Week at Lincoln Center and 231 showed offsite, according to data from the Fashion Calendar, a fashion event scheduler, and IMG.

(Emily Anne Epstein)

Many of the designers opting to show offsite are looking for a particular sense of place; a mythology that matches their brand. “I always dreamed about being a part of Bryant Park, and when Fashion Week lost its location, I was really bummed about it. I lived for that moment,” said Nary Manivong, an emerging designer who has chosen to show his work offsite and off-schedule.

Of course, nobody can keep everyone happy, and Ms. Wolkoff is aware of that. She’s not interested in reclaiming defectors. She is interested in making sure the event goes off seamlessly.

“I stay in control of every little thing,” said the maestro of Post-it notes, corkboards and carefully stacked folders. “I want to make sure that nothing falls through the cracks. If I could delegate a little better, I would be better off.”

She is well-known for indifference to the theatrics so often associated with fashion, calling herself an industry “Switzerland.” “There’s no drama,” Elle’s creative director, Joe Zee, told The Observer. “Whatever is happening behind the scenes, everything still feels very put together.”

Every detail is per Ms. Wolkoff’s design, said associates, one of whom likened her preparedness to that of a Boy Scout. “I don’t feel it’s appropriate to put my hands up in the air and say, ‘too bad,’ you know, or ‘It’s not my job,’” Ms. Wolkoff said. “There were times when I’d be sweeping the floor before an event if the floor was dirty. I wouldn’t wait for someone to come into the room and do it themselves.”

Ms. Wolkoff is known in the industry as “General Winston”—a name bestowed on her by Anna Wintour, a career-long mentor who tapped her to become Lincoln Center’s director of fashion when Fashion Week was pushed out of Bryant Park by an ice-skating rink. Ms. Wolkoff, who had previously headed the Vogue-hosted Costume Institute Benefit at the Metropolitan Museum of Art, is credited with helping elevate it from an East Coast event to a star-studded couture pageant.

She is one of the many New York fashion success stories who owe their rise in large part to Ms. Wintour’s mentorship. Ms. Wolkoff was a client services manager at Sotheby’s when Ms. Wintour hired her to do PR for Vogue, despite her lack of fashion experience. Raised amid acres of farmland in the Catskill Mountains, the black-belt preferred working on her jump kick to reading magazines. “Fashion was not something that I knew about,” she said. “It just wasn’t really particularly interesting.”

But what Ms. Wolkoff did have was an intensely disciplined work ethic, which was solidified playing power forward for Fordham University’s Division 1 basketball team. The diligence of waking up for predawn practice drills developed a personal drive that became impossible to turn off. (To this day, she calibrates her schedule to the minute, opting to have a manicurist come in to do her nails at her desk so she doesn’t have to cut into family or work time.)

(Emily Anne Epstein)

And she looks the part. Described by an associate as “the first person you see when you walk into a room,” Ms. Wolkoff came equipped with Vogue-worthy family associations: her stepfather is Bruce Winston, jeweler Harry Winston’s son.

“I didn’t have quite the understanding of the difference between Vogue, Elle, Harper’s and the rest of the world,” Ms. Wolkoff said, recalling her interview at the magazine. She was hired the same day. “I knew Anna Wintour was the editor in chief of Vogue, I just didn’t understand what it meant to wait around to meet with Anna Wintour. I didn’t lie that I read Vogue every day or that I grew up loving fashion, but I did know how to roll up my sleeves and do whatever it took to learn it.”

In the cosa nostra of fashion, Ms. Wintour’s blessing is likened to being “made” by a mafia boss. The wheels are slicked, critics are silenced and success is imminent. Accordingly, Ms. Wolkoff’s ascent at Vogue was rapid; she jumped from PR manager to special events manager to the head of the Costume Institute Benefit.

“The Costume Institute Benefit became my baby. It was something that I lived, breathed, day and night,” she said. “It was all about excellence. It was all about never taking ‘no’ for an answer from anyone in order to achieve the ultimate goal.”

At Lincoln Center, Ms. Wolkoff expanded on the foundations laid by Fern Mallis, the founder of Fashion Week, whose efforts put American designers on the global fashion map.

“We wanted to compete with Paris and Milan and other world capitals. There was very limited international business coming to New York, because we weren’t organized,” Ms. Mallis told The Observer. One of the initiatives she pursued was corporate sponsorships that would help offset the costs of the runway productions.

(Emily Anne Epstein)

Ms. Wolkoff nurtured those relationships, creating events that were open to the public rather than only buyers and editors, prying open the former fashion fortress and transforming it into a sprawling campus. “My goal was to put fashion on par with all the other cultural institutions that were at Lincoln Center,” Ms. Wolkoff said. “I always wanted to somehow democratize Fashion Week in a way that hadn’t been done before. I wanted to create a place where editors, models and designers could rub elbows with the everyday person.”

Some designers have balked at the new venue and the new vision, opting to take their shows elsewhere. Marquee New York brands like Proenza Schouler, Marc Jacobs and Alexander Wang have all decided to sidestep Lincoln Center. “The feedback I’ve gotten is that it’s way more commercial out there. But at the end of the day, that’s what it’s about,” Ms. Mallis said. “I certainly miss Bryant Park.”

Mr. Zee says that Ms. Wolkoff’s innovations have “matured” the biannual event. A self-proclaimed “fashion dinosaur,” he has been to shows at every fashion week, since long before they ever found a home at Bryant Park.

“I kind of love Lincoln Center,” he said. “She’s really made it into a true event. It’s not about going to a fashion show and leaving—she makes it into a true experience. It’s like growing up: Bryant Park was the teenage years, and now you grow up and you migrate uptown. It’s bigger, more glamorous ... it’s more what it is.”

At the end of the day, the models need to walk, the buyers need to shop, the editors need to see the season’s best and the designers need to sell their handiwork. It’s a trade show.

“If you look at who’s involved in fashion, there’s glamour, and smoke and mirrors, but it is a true business,” Vanessa von Bismarck, co-founder of fashion PR firm BPCM, told The Observer. “[Ms. Wolkoff] is someone with a business mind and [she] knows how the business works.”

(Mario Zucca)

In June of last year, Ms. Wolkoff stepped down as Lincoln Center’s director of fashion to take charge of her own company, SWW Creative. She still oversees the event, but now IMG and Lincoln Center are her clients, along with a number of other companies, including the Council of Fashion Designers of America, Penske Media Corporation and Kapture, an iPhone photo-sharing app.

Setting up shop privately enabled Ms. Wolkoff to dictate her own terms, which include being able to pick her three kids up from school and get home for dinner with her husband, real estate developer David Wolkoff. “I didn’t have children not to be with them,” she said. And even though her daughter Alexi has made the occasional runway appearance, she’s not an aspiring Tavi. “My children do not know the difference between Tar-jay and any other designer brand,” Ms. Wolkoff said proudly.

After bedtime, she typically dives back into work. “I go to sleep once I’ve put my third child to sleep, and I will wake up around 1 o’clock in the morning and work for a couple of hours, and then go back to bed,” she said, pointing to the 1,777 emails that had accrued in the past hour.

Once left alone, Ms. Wolkoff settled back into her seat and began riffling through the stacks of paper spread across her desk. She checked her iPhone and called out to her assistant. It was clear: she may be the first person you see when you enter a room, but she’s also the last to leave.

eepstein@observer.com

Niki Cheng and Shaokao Cheng at their Chelsea BoConcept store. (PMc)

The first time The Observer met Niki and Shaokao Cheng, it was July, during the opening night of Julio Gaggia’s art show. Mr. Gaggia, the boyfriend of the plastic surgeon Mark Warfel, was preparing his work “Living Art: Chelsea Boy Apartment,” during which he would live for five days as a window display model at the BoConcept furniture store on West 18th Street. He spent the week eating, sleeping, working—and performing other, less-mentionable activities—in a showroom that divided him from gawkers outside with a pane of glass.

While we lounged about on the display furniture, socialite photographer Patrick McMullan brought over a petite woman with short, pixie-cropped hair.

“Niki is one of the few Power Asians in New York society,” he loudly whispered, flourishing Ms. Cheng before us. She smiled shyly and posed for a photograph before excusing herself.

It would be two weeks before we realized that Ms. Cheng and her husband owned the store where we had dropped more than one canapé between the cushions of a $3,000 couch.

In fact, the couple owns all five locations of the Danish furniture store in New York City, and another two in New Jersey. But the stores themselves aren’t the reason Mr. McMullan calls the Chengs “Power Asians.” Rather, it’s the couple’s seemingly innate social instincts, their ability to leverage a fairly cookie-cutter, mid-market design base into a celebrity-filled social whirl. One might say “Only in America,” or (even worse) “Only in New York,” but this wouldn’t exactly cover it. There is a certain type that thrives in Manhattan no matter what they’re selling, no matter where they’re from, no matter how few resources they have upon arriving.

If Darwin were alive today and researching the survival of New York species, he would do well to study the Chengs. They’re not social climbers, per se, but social movers—Gladwellian “connectors” who know everyone from celebrities to the guys with the best drapes in the city. They share their knowledge strategically with other key additions to their ever-expanding Rolodex. For Niki Cheng, 39, and Shaokao Cheng, 41, life is not about climbing a ladder. It’s about traversing the monkey bars that crisscross Manhattan.

“Niki and Shaokao have a wonderfully progressive view of New York society,” said Village Voice scribe Michael Musto. “They mix into their social circle drag performers, club holdouts, top celebrities and the corporate crowd. It’s all-inclusive.”

Last Friday, we met Ms. Cheng for a second time—again at the Chelsea store. While we were there, actress Faye Dunaway came in and had what one could only call a fit of method acting for a sequel to Mommie Dearest. The recently evicted Academy Award winner had come in two weeks ago and bought a piece of art from the store, and now she wanted Ms. Cheng’s help on a new design project.

“I adore this store. I’ve raved about it; they really need to get some of this stuff to London,” Ms. Dunaway told The Observer. “They don’t have anything like it there now.”

Unable to find a confidentiality agreement for us to sign, she stormed out shortly thereafter. (We didn’t get to tell her that there are actually 13 BoConcept stores in the U.K.) It was the kind of scene that no one wants a reporter to witness while writing a profile, but if there was any bad blood, Ms. Cheng didn’t show it.

“Really, don’t be upset,” she told The Observer, rubbing our arm soothingly. “She’ll call back. Anyway, where were we?”

The Chengs are adept at pleasing their celebrity clients, a skill that has come in handy while designing P. Diddy’s home, Jay-Z’s office (bed included), Mary J. Blige’s entire apartment and Estelle’s closet. Susan Sarandon, Lil’ Kim and Patti LaBelle have also used the duo’s interior design services, and Ms. LaBelle sang at the BoConcept flagship store for a Lance Armstrong benefit. They count designers Vivienne Tam, Asher Levine and Zang Toi among their closest friends.

Not that everyone in their circle is a brand name. After Ms. Dunaway left, we rushed over to Astor Place, where BoConcept was sponsoring a tent for a Christmas tree stand run by a Brit named Marco Romero, his girlfriend and his brother. Though he runs a jewelry shop in Greece most of the year, Mr. Romero spends three weeks in December living out of a van selling holiday firs, and Ms. Cheng took it upon herself to decorate the tent that the trio takes shifts in.

Despite a franchise that traffics mainly in large-scale items, Ms. Cheng has a burgeoning obsession with “micro-units”—apartments that are between 250 and 300 square feet.

She wanted to prove that it was possible to use BoConcept furniture to decorate a very small space, and the Romeros provided her with an interesting challenge. Their tent was about seven feet long and seven wide, and the guys had to hunch over even when standing at its tallest point. Empty, the space seemed minuscule. But after Ms. Cheng put down an orange rug, a short shelving unit, an ottoman, a table and two chairs (as well as several well-placed decorative objects), the tent looked like a living room on the Lower East Side.

It’s never quite clear why Ms. Cheng decided to treat Romero and his tent like VIPs, but when it was revealed that a $3,000 lamp from the store broke on the ride over, Ms. Cheng gasped, then turned to Mr. Romero. “We’ll have to get you another one.”

Shaokao Cheng, Cienna Cheng and Niki Cheng. (Patrick McMullan)

Perhaps the random act of kindness was a viral marketing ploy, or stemmed from her own back story of struggle. (Probably a bit of both, if we’re being honest.) Niki Cheng—née Chong—was 25 when she moved to New York in the mid-’90s. She had an architecture degree from the University of Malaysia and a visa that was only good for one year. She was scraping by as a coat-check girl at Von when she met Mr. Cheng, a young banker whose father had given him a $90,000 loan to buy a single-bedroom apartment on Madison and 32nd.

The two were introduced by a restaurant co-worker of hers, and she began relocating her belongings to his apartment after the first date, she said. After a heady three months of dating, Mr. Cheng invited her to move into his place permanently. “He didn’t realize I already had,” she laughed.

But there was a catch: his apartment in Murray Hill would be undergoing extensive renovations for two years. They made a pact: if they could live through the 24 months without breaking up, they would become a pair in the business sense as well. Mr. Cheng also pushed his girlfriend to get a job at a furniture retail outlet that would give her a three-year visa.

One day while working there, Ms. Cheng came upon a catalog that featured a coffee table identical to the type she sold. Except that Ms. Cheng’s outlet was selling her model for $2,000, and this unheard of Danish brand was selling its at $299.

The brand was called BoConcept, and its international franchise operation was just getting off the ground. The Chengs approached the company with the idea of opening a New York store on Madison Avenue, but were turned down. BoConcept’s owners thought that space in the city was too expensive and there wouldn’t be enough room to show the big items. In their view, New Yorkers were not the target market for their oversized aesthetic.

But the duo were undeterred. “We had spent a year putting together research that proved that this store could be opened in New York,” Ms. Cheng said. They also showed their plans to a friend they met at Bungalow 8.

Their friend turned out to be designer Max Azria, who spent 10 minutes calculating the figures the couple had acquired during their research, sketched a number down on his pad, and told them to go for it.

In 2003, BoConcept agreed to let the couple try their hand at a New York flagship for $300,000. “We had everything to lose,” Ms. Cheng said. “They had nothing to lose.” Niki was 28 and Shaokao 30. They had recently gotten married in Hawaii after three years of dating because, as Mr. Cheng put it, “My wife went to three different psychics who told her that marriage would bring us good fortune.” Mr. Cheng and his father remortgaged their houses to pay for the initial investment.

They barely survived the first two years; they couldn’t figure out the computer systems, and there were issues with shipping. Their business model might not have actually worked had Mr. and Ms. Cheng not been so socially ambitious.

With his degree in engineering and hers in architecture, they were able to use their conjoined home-decorating skills for seemingly un-BoConcept-related purposes. When one big-name celebrity client called, nothing from BoConcept would fit in their closet, so Ms. Cheng happily suggested shelves and fixtures that did. Soon, the singer was calling the couple to redesign her living room, and this time they used items from their Dutch catalog.

The fact that BoConcept’s furniture design is somewhere between IKEA and West Elm is somewhat beside the point. What the Chengs have done was take a relatively bland furniture store from a not especially popular Danish franchise and parlay it into a personal calling card.

When the two aren’t peddling 12-piece sectionals, they can often be found at yoga or otherwise getting fit. At 12:54 a.m. Saturday morning, The Observer received a text from Niki, who asked if we wanted to attend a 10 a.m. Bikram session with her. (We pleaded out.)

Later that morning, Ms. Cheng was at the Madison store, dressed from head to toe in brown Juicy velour. She helped hunk real estate agent Ryan Serhant from Bravo’s Million Dollar Listing find items for his move from Pine Street to Chelsea ... which of course will be documented on Bravo’s website. After he left, Ms. Cheng rushed out herself for a private second yoga session of the day, but not before inviting The Observer over for a home-cooked meal the next night with “some friends” that included Ms. Tam and Mr. Musto.
http://youtu.be/JjI2SwrGnHs
A 2010 BoConcept commerical featuring Mr. Musto and Ms. Cheng.

In 2006, the Chengs moved with their baby daughter Cienna from Murray Hill to a $1.7 million, 2,200-square-foot artist’s loft with 12-foot-high ceilings on Fifth Avenue at 29th Street. This is the space, apparently, where you can keep two six-foot ottomans without it feeling cluttered.

Cienna is now 6, their son Eden 3; when we arrived Sunday evening, their mom was running around the gigantic apartment, scooping them up for bed. Ms. Cheng looked ready to fall asleep herself, after making a feast: home-cooked dishes with pork belly, chicken, eggplant and fish, and a lotus soup for dessert. Ms. Tam was there, and Mr. Musto showed up for dessert. Mr. Levine wasn’t able to make it, but the table was more than full.

Mr. Cheng explained that she had rescheduled her meeting with Ms. Dunaway, but was too busy cooking to make it down to the store. So she had the actress come up to her apartment and multitasked.
As we were leaving, Mr. Cheng asked sincerely if we would come back and have dinner when we weren’t on the job. Ms. Cheng had already invited us to their Christmas party and a luxury garage sale they were co-sponsoring this week. They were so nice! How could we decline when they were so generous?

Another rung added to the monkey bars.