The 28-year-old actress, who forged a career as a model before she broke into the entertainment industry, believes France's debate to include models with a body mass index (BMI) of at least 18 on the runway was "really important", but she believes another conversation on model's weight and health is to be had.
Speaking about the business to The Hollywood Reporter, the brunette beauty said: "I think the BMI conversation was really important.
""But then you do watch fashion shows and you do see extremely small girls walking down the runway, and a lot of them are really young and haven't become women yet. It's like their body shape hasn't changed. Some girls look like they're about to pass out.
"I think there's still a conversation to be had there about runway sizes."
Lily portrays a female battling with anorexia, Ellen, in the drama film 'To The Bone' and the star has revealed she has recently been criticised for her rapid weight loss, which was in preparation for the role, and she wished the public would be more sensitive to those who are a "victim" of the eating disorder.
She said: "I hate that because you just don't know if someone is struggling. I was a victim of that when I was losing the weight for this movie.
"I was photographed looking a certain way, and all of a sudden it was like plastered everywhere, and I wasn't allowed to talk about the movie yet."
Meanwhile, Lily - who is the daughter of musician Phil Collins - has already moved onto another project and is set to appear in 'The Last Tycoon', which will premiere on July 28, and the star is hopeful the show will get a follow-up in the future.
She said: "Hopefully we get to go into more seasons. It's brilliantly written. And there are so many different relationships and stories going on. It would be a shame not to be able to share them all."Read more at:backless formal dresses | cheap formal dresses
FASHION Designer Chu Suwannapha debuted his label CHULAAP about two years ago at the inaugural South African Menswear Week (SAMW). The unisex range was a meeting of his Eastern.
Resulting in a kaleidoscope of beautifully tailored clashing African prints in origami-like shapes. The collection was a hit that received rave reviews both locally and internationally. His creative eye for design and experience in the fashion industry is evident in each piece, making his carefully curated runway shows stand out. Suwannapha who is affectionately known as the “Prince of Prints” launched his debut ready-to-wear womenswear collection this week. I speak to him about the collection.
So Chu, what pieces make up the collection for CHULAAP’s Cruise? Well, for a start I’m not working with the Wax Prints as I usually do. The prints I have used for this collection are more contemporary and graphic - they’re Afro Pop. The prints are 3D and create an optical illusion with a lot of depth and dimension. I love to play with graphic lines, like the diamond shapes and the Op Art bubbles which make each piece come to life. And the colour palette I’ve chosen is monochrome and shades of blue.
The collection comprises of 17 styles including skirts, a shirtdress, trenchcoat, culottes and more - of which all are timeless and effortless pieces which will suit all different occasions. It’s a mix of feminine styles plus boy meets girl, which is both clean and modern.
What are the designs inspired by? This ready-to-wear womenswear collection is inspired by the everyday African woman, and combines a 1950s feminine silhouette and graphic prints with an oriental twist. Each piece can be worn separately or combined to make a modern statement with head-to-toe prints.
Fashion should always be effortless and practical and that’s why I’ve designed beautiful garments to flatter and celebrate the African woman, who is looking for key pieces that highlight both her spirit and individuality with vibrant flair.
Why the move to womenswear? Is the approach, design-wise, different for designing womenswear than menswear clothing? I’ve wanted to create a womenswear collection for a while now, and it seemed the perfect opportunity with the Spree collaboration.
I’ve wanted to create a womenswear collection for a while now, and now seemed like the perfect opportunity. My designs are always very straight forward with a twist of oriental - I like that what you see, is what you get. And my philosophy is that dressing is not about impressing the person next to you. It should be about adding personality and confidence to oneself. So my signature style didn’t change at all - you can still tell that it’s the same ‘men’s’ designer who has created this womenswear range. The only differences are the Lady Like 1950s-inspired top, dresses and skirts.
Who is the CHULAAP Cruise Collection woman? The CHULAAP Cruise Collection is aiming for the broader audiences and who’s not afraid to wear graphic prints. It’s bold but basic. I want my audience to feel pretty and sophisticated with a sense of modern femininity and sexiness when they are wearing CHULAAP.
Where do you find inspiration? Do you take design cues from outside the fashion world? I get inspired from what I see or hear around me every day such as art, culture, architecture, politics and nature. I don’t stick to one thing. I mix them together to be one story. Sometimes you need to create your own inspirations, like making a story board.
Last words? I’m so excited to bring my womenswear collection to market. As a designer, you put your all into your range and it’s been an incredible journey - one that I’m very proud of. Who knows what’s next. I heard someone the other day comment that it would be great to own some CHULAAP Homeware watch this space.Read more at:formal dresses online
FOUR years, eleven shows and scores of success stories - it didn’t take much for Genda Phool, city’s signature fashion event, to become synonymous with
class and exclusivity in and around Nagpur.
Genda Phool exhibitions are among the eagerly awaited fashion fests by fashion connoisseurs, as was evident by the steady footfalls and excited mummer of the awed and impressed clients, at Hotel Centre Point on the rainy Saturday afternoon.
Such is the variety and quality of the products on display that even those with a passing interest in lifestyle and fashion could easily spend an entire day browsing among the unique regalia, and show organisers, Ketki Dalmiya and Gauri Jhaveri attribute this to their focus on quality.
“Three-four years back, we felt the city’s fashion connoisseurs didn’t have any options but go to metro cities to buy quality designer stuff. Previously, even a small exhibition in the city attracted customers in droves, with most of the stuff selling like hot cakes. This made us come up with Genda Phool, where we exhibit world-class designer items,” stated Ketki Dalmiya.
Genda Phool not only gave fashionistas of city their favourite hang-out, but also provided a great platform to budding women entrepreneurs. “It’s very nice to see women breaking out in the entrepreneuring field through Genda Phool. In this exhibition, we have several housewives showcasing and selling their exceptional stuff to a positive response. Rudraksha (event decor) led by Payal Puri and Vidhi Dagar, or Sunita Bhargava of Floral Cut or even Bhanu Kapas from Kolkata, who specialises in pintucks, all have been value additions to Genda Phool. It’s such a joy to see these women scripting their success stories with ours,” added Gauri Jhaveri with a hint of pride and goes on to say that 50% of their profit goes to charities working for children.
Juggling domestic duties along with professional commitments, both Gauri and Ketki agree that it is not easy organising Genda Phool single-handedly, but say the gains outweigh the pains and promise to come back stronger in their next showing in the city.Read more at:marieaustralia.com
High-low outfits are taking the season by storm. Whether it is a super cute dress, a boho-chic skirt or a casual top, the asymmetry of the hemline is what exactly is making these outfits edgy and unique. Rocking the high-low trend is the perfect way to show off your fashion-forward style! If you are not sure about how to rock the super-chic shorter hem in the front and longer hem in the back, we will help you out. Here are some fashion tips with some inputs from the e-commerce fashion label Vajor’s stylist Shreyasi Pathak on how to pull off a high-low outfit.
If you want to style a high low outfit for a casual look choose a high-low top and wear it with bottoms in a snug fit such as skinny jeans, leggings or jeggings to balance the flowy nature of the top. You have to always balance your top and bottom wear. You can also wear the straight fit top with boyfriend jeans. Along with this outfit pairing, throw in your favorite pair of comfy footwear like a pair of sneakers, flatforms, espadrilles or ballerina flats. These kind of footwear work the best with a casual look.
You can experiment with a lot of different types of high low outfits. High-low is present in abundance in the fashion world. You can choose between high-low tops, skirts and dresses that are the most popular styles among everyone. Recently, the high-low trend has also started making an appearance in the hems of loosely fit bottom wear.
If you are in dilemma about the fabric and fit that will look flattering when choosing a high low top, opt for a relaxed fit. High-low is more often than not available in a looser fit because the trend looks better in a much more flowy silhouette. Choose the top in a fabric that drapes well, to enhance the flounce and the fall of the top. This way you will find it easier to style your look and also pull it off well!
You can opt for bold accessory pieces such as an elaborate necklace, statement earrings, and chunky rings to complement the dressiness of the outfit if you want to. But try to maintain the balance by trying not to go overboard. Choose one statement piece and keep the rest of the elements in a more minimal tone.
The best kind of footwear to sport with a high low outfits should always be in accordance with the overall look you are aiming for. If the desired outfit has a relaxed and casual appeal, then sport footwear such as sneakers, espadrilles, ballerina flats or plimsoles. For a dressier ensemble, wear your favorite pair of heels with your high-low outfit.Read more at:short formal dresses
RMIT has announced an exhibition around the cost of fast fashion, with 11 workers killed in the latest controversy to hit the sector.
RMIT Gallery’s exhibition Fast Fashion: the dark side of fashion, (21 July - 9 September), will take a critical look behind the scenes of the fashion industry and consumer habits.
It comes as Bangladesh authorities launch an investigation into a blast at a factory that killed at least 11 workers earlier this month.
It is the latest disaster to hit the country's lucrative but low-cost garment industry.
RMIT Gallery’s exhibition Fast Fashion: the dark side of fashion (21 July - 9 September) takes a critical look behind the scenes of the fashion industry and consumer habits.
Presented in collaboration with the Goethe-Institut and RMIT School of Fashion and Textiles, Fast Fashion is curated by Dr Claudia Banz at the Museum für Kunst und Gewerbe in Hamburg.
It is also supported by Deutsche Bundesstiftung Umwelt and Karin Stilke Stiftung.
The exhibition undresses the social, economic and environmental impacts of cheap fashion.
In response, the exhibition’s Slow Fashion Studio explores new fashion practices and experiences to bring about positive change.
Australians are the second largest consumers of new textiles worldwide and, at the same time, fashion is one of Australia’s fastest growing waste problems.
RMIT senior lecturer Dr Jenny Underwood said fashion reflects who we are as an individual and as a society.
“Using the Fast Fashion exhibition as a provocation, the Slow Fashion Studio features the work of nine design practitioners, who collectively create a social space for exploring alternative approaches to how fashion is produced, consumed and experienced,” Underwood said.
“The Studio will showcase everything from advanced digital technologies such as using virtual reality to better design and fit clothes to individual body shapes, to meticulous hand craftsmanship.”Read more at:sexy formal dresses | vintage formal dresses
Pamela Easton and Lydia Pearson have been afforded the kind of milestone most designers dream of. 28 years after founding their label Easton Pearson out of their workshop in Brisbane the friends and co-creators, along with patron Dr Paul Eliadis, have gifted their entire 3,300-piece archive to the Museum of Brisbane. It is the largest textile donation ever made to an Australian museum.
The collection is to be meticulously ordered, catalogued and archived in a process that could take years but will preserve the pieces for educational purposes under the supervision of museum director Renai Grace. “The Easton Pearson archive represents a momentous opportunity,” said Grace speaking at the museum, noting the cultural significance and educational potential of such a collection to Brisbane and the fashion landscape at large. “This will open up opportunities for exhibitions and programming, artists in residence and responsive artwork commissions.”
The gift includes pieces from some of the label’s earliest collections from 1999-2016, thanks in part to Easton’s Husband, a conservation architect, who encouraged the pair to rigourously save their pieces. The gift was a culmination of this interest in preserving the pair’s work. “We are all united in our love of, and belief in, where we live and in our determination to keep our history here and celebrate who we are,” said Easton at the museum. “The use of our archive as an educational resource is one of the main intentions of the gift and the thought that our history may encourage future generations of creative designers is the most satisfying of all.”
Known for their celebration of colour and use of intricate techniques in embroidery and embellishment, the duo established an aesthetic that reflected their love of travel and connection to other cultures around the world. Working closely with artisans in India and Brisbane in particular they were able to execute their designs in rich detail that reflected the labour intensive processes used to create them. It paved the way for a fashion model that has been adopted by countless designers since and showcased a mode of manufacturing that was sensitive to environmental and ethical concerns.
Reflecting at the archival facility in Brisbane, Pearson says the collection is also a deep well of memory and inspiration for her personally. “If you ask me about any single one and I’ll say to you ‘I know when it was, I can remember cutting out the sample, I remember making the pattern, I remember talking to the embroidery people, I know where the fabric came from’.”
Subscribing to ‘slow fashion’ and making room for other pursuits were factors they said contributed to the closure of their label in 2016. Their legacy - of carefully made, exuberant pieces grounded in the creativity and integrity of the artisans they partnered with and a slower, considered approach to fashion - now in the museum’s hands, will contribute to shaping future generations’ understanding of the way fashion can be made.
The museum will display a rotating roster of three looks, before a bigger exhibition planned for 2018. It will be the first exhibition of the pair’s work since a 2009 Queensland Gallery of Modern Art exhibition that attracted around 80,000 visitors.Read more at:celebrity dresses | cheap formal dresses
They say you should dress for the job you want, not the one you have. Many women seem to apply this approach to dressing for the whole of the summer season. In other words, we dress for the summer we want, rather than the one we are actually having. The woman in front of me in the queue for my 8am coffee, who had her protein pot held in the crook of her arm in order to jab non-stop on her phone during the transaction, was wearing a dreamy, rustic-linen midi dress with strawberries and leaves around the hem and bell-shaped sleeves. Behind me, a twentysomething ordering a matcha latte dug her debit card out of a cute heart-shaped raffia basket that held a water bottle from Barry’s Bootcamp, the cult fitness class.
This is about more than just wanting to be on holiday and having to go to the office instead. This is about what kind of a summer you are dreaming of, as you gaze out of the office window. It is about aspiring to a specifically pastoral aesthetic of meadows and picnics and daisy chains. To rockpools, not infinity pools; peace and quiet, not beach parties. It is poetic rather than high-rolling; more slow motion than jet set. It is a folk dress with a rope belt rather than Daisy Duke shorts. It is keeping your hair off your face with a fishtail braid rather than slicked back behind designer shades. It is a ribbon-tie espadrille rather than a sporty flip flop.
This is boho, but not as you know it. The new, aspirational pastoral-chic is quite different from boho-chic in its Sienna-Miller-in-a-Primrose-Hill-pub-garden incarnation. Where that look was streetwise and decadent, with oversized sunglasses and low-slung studded leather belts bringing a louche, on-tour-with-the-Stones vibe, the new pastoral is decidedly more wholesome. Prim, even. Topshop, whose party dresses have launched a thousand “You’re-not-going-out-like-that” stand-offs between teenage girls and their parents, is selling a floral tea dress with a floorlength skirt and a demure neckline in baby blue. High-necked, full-sleeved blouses, a garment until recently seen only in Sunday-night period dramas, are increasingly to be found in the office.
Pastoral romance ruled at London fashion week. Simone Rocha, one of the current stars of that event, put milkmaid puff-sleeves on long, virginal-whitebroderie anglaise dresses. In Paris at Valentino, the front row was packed with wealthy customers wearing the label’s long-sleeved, renaissance-princess-style gowns, while swooning over the new-season updates on the catwalk.
But this is about more than just catwalk trends. Summer’s pastoral shift is the most striking incarnation so far of the move towards modesty that has been evident in our summer dressing for the past decade. The rising profile of women who dress modestly for cultural reasons – visible on the street, in political conversation, and in a global fashion industry in which the Middle Eastern economies exert ever more influence – has had the effect of shifting our expectations towards a more covered-up wardrobe. Consider the end of topless sunbathing, and the rise of the “beach cover-up”, a category that barely existed two decades ago but is now considered a wardrobe essential. The old adage about not showing legs and cleavage at the same time is all-but defunct when most of the on-trend dresses on sale on the British high street show neither.
Not that the new pastoral chic is narrow-minded or parochial. The charm of the trend is that it is a sophisticated and worldly take on how to dress for a rustic idyll. Forget roses around the door, bunting, hand-knitted tea cosies, or any of those Keep Calm and Carry On cliches. The British elements of the look are gritty and specific – Shetland lace for long, flowing dresses at Alexander McQueen, fisherman-style cable knits for cream sweaters at Burberry – rather than the sugared-tea aesthetic of the Cotswold gift shop.
The look draws on folkloric, artisanal clothing from all over the globe. Raf Simons explored prairie-style quilting in his first collection for Calvin Klein at New York fashion week. Israeli designer Dodo Bar Or’s tasselled, softly coloured maxidresses take inspiration from the keffiyeh. New York label March11 is a worldwide fashion hit for its vibrant dresses based on the vyshyvanka – the traditional, richly embroidered Ukrainian blouse.
If the wide-eyed innocence conjured up by the pastoral puts you off, Sofia Coppola’s new film The Beguiled, set in a girls’ school in Virginia during the American civil war, might change your mind. As Miss Martha, Nicole Kidman rocks floor-length full skirts with long-sleeved blouses, and the full coverage is pushed close to something more fetishistic: high lace collars, rows of tiny covered buttons, gingham and polka dots. This look can be strict and businesslike, or it can be sweet and laidback. Just like summer itself, in fact. Even when the sun shines, life isn’t always a picnic. But that doesn’t have to stop you from dressing for one.Read more at:cheap formal dresses
The Fédération de la Haute Couture et de la Mode, the recently renamed governing body of French fashion, is reprising its Instagram curation in time for the July couture shows, which began today in Paris.
Supermodel and entrepreneur Natalia Vodianova, fashion bloggers Helena Bordon and Tina Leung, fashion editors Emma Hope Allwood and Meruyert Ibragim, The Webster’s Laure Hériard-Dubreuil, illustrator Kris Atomic, stylist Jonathan Huguet, and photographers James Bort and Stéphane Feugère have been invited to create exclusive content for the federation’s @ParisFashionWeek account.
These 11 personalities — with a combined reach of around four million — are expected to capture the high-fashion and jewelry scene via the photo-sharing network’s Instagram Stories feature.
The federation’s social initiative will culminate on July 5 with the annual Soirée Haute Couture. A photo studio designed to look like a “mini runway show” will be installed in the Petit Palais, to capture guests in their finery. Designers and couturiers have been invited to bring the entourage that best represents their house and brand to the “La Vie en Rose”-themed event.
Developed last year by KCD Digital, a branch of the public relations and production agency, the InstaCouture initiative was put in place last year to heighten the international reach of the Paris events. Created in September 2015, the federation’s Instagram account not boasts almost 70,000 followers, up from 8,000 last year.Read more at:vintage formal dresses | backless formal dresses
Seasonal style transitions can be challenging. No sooner do you grow accustomed to long days in loafers than Mother Nature turns down the thermostat. That's why autumn was invented—three months to grapple with the approaching winter, time to reacquaint yourself with knits and modify your dressing to transition accordingly.
It usually takes an instance or two of getting caught out under-prepared ("it's a bit nippy today," you'll remark) as a reminder that you can no longer leave the house wearing linen with impunity. But with the arrival of winter proper, there's no room for excuses. We demand a zero-tolerance approach to offenders who refuse to get their winter wardrobe in order.
Summer is over, mate. Yeah, we live in a sunny country, but most of it experiences cold weather at some point, so the perennial summer is a fallacy—at least until global warming really sets in. Accept it and evolve your wardrobe. Or move to the tropics.
* No socks: Bare ankles in summer give off a swarthy, Mediterranean playboy vibe, but come winter an exposed ankle is the sign of a man with a startling inability to adapt. No need to forgo cropped trousers, if that's your preference – they're perfectly compatible with socks and boots.
* Jandals: Even at the height of summer, flip-flops are a questionable choice of footwear in many situations. As for winter thongs… well, that's just not a thing because pale feet and frostbite aren't a good look.
* Shorts: Unless you're running around a field chasing a pointy ball, you have no business being in shorts between the months of June and August (give or take, depending on what part of New Zealand you're in). The look is particularly incongruous when teamed with a chunky sweater and beanie, as if the wearer has somehow lost feeling from the waist down.
MOST WANTED: THE WARDROBE IMPROVISER
This is the person who refuses to spend a cent of their hard earned on any proper winter gear. They reason that it only gets really cold for a month or two of the year, so, out of sheer laziness or a misguided sense of pragmatism, they'll just makes do with whatever they own.
* No winter coat: You'll recognise this guy when the mercury creeps below about 16 degrees Celsius. He's the one hugging himself in a T-shirt and flannie, complaining how freezing it is. If it snows, he might consider a denim jacket. There's no substitute for quality, classic outerwear in a neutral colour. If it only comes out a week a year, it'll last a lifetime.
* Pointless umbrellas: The refusal to buy a decent brolly is usually justified on a cost-per-use basis and the belief that one is more likely to lose an umbrella than to use it. Therein begins a vicious cycle: man buys flimsy umbrella, umbrella disintegrates at the first sign of a breeze, man replaces umbrella. It's false economy. Better to buy quality that looks good and works well (and you'll be less inclined to forget where you left it).
* Adventure wear: Who needs to buy winter clothes when you've got perfectly good ski and hiking gear knocking around? Well, everyone actually (the clue is in the name). Save it for on piste or cross country. Athleisure is a thing, but if it involves wearing a hiking fleece under your work suit, you're doing it wrong.
MOST WANTED: THE OVERDRESSER
Like a reality TV star chasing ratings, some people tend to overreact in a situation, like the person who takes things to extremes to stave off cold weather—the bigger and more OTT, the better. This person lives by the motto 'leave nothing to chance' and probably has a cellar full of tinned food and batteries.
* Over-layering: Adopting an Antarctic explorer as your style muse is not the answer. Overstuffed, oversized garments, earmuffs and a balaclava make you more susceptible to heat stroke than hypothermia. A good rule of thumb: if your mother can't identify you under the layers, rein it in.
* Ugg boots in public: Long disparaged as the dress code of bogans and Pamela Anderson but it still needs to be said. The public ugg wearer doesn't see the point in changing into actual shoes to leave the house when sheep hide is warmly caressing his feet. He thinks it doesn't matter. It does.
* The elaborate beanie: Slouchy beanies are like V-neck tees, perfectly acceptable attire open to abuse in the wrong hands. Some men have an inexplicable urge for style one-upmanship. Like a deep V, an oversized beanie that even a Smurf might consider over the top is unnecessary. Recently witnessed: the statement pom-pom. The statement being made? 'I bet you've never seen a pom-pom the size of a man's head before'. And we hope to never again.Read more at:formal dresses perth
Auto executive Julia Steyn lives life in the fast lane. Born in Russia, the former Goldman Sachs vice president heads Maven, a ride-sharing app from General Motors that provides users on-demand access to GM vehicles in 14 cities throughout the U.S. with expansion to the Hamptons expected this summer. But for Steyn, who splits her time between homes in Detroit, Manhattan and East Hampton, adjusting to Maven’s start-up mentality has meant shifting her sensibilities when it comes to dressing for work.
“Frankly, before taking this job I never owned a pair of jeans,” admitted Steyn from her glass-walled offices atop Cadillac House in New York. “We have a very different work environment at Maven and [my wardrobe] ranges from really formalwear to jeans. Finally in my 40s, I get to try a new piece of clothing.”
Steyn — who often pairs her looks with bold accessories from her extensive jewelry collection — takes a philosophical approach when it comes to choosing her designer duds.
“Clothes are not just a reflection of your environment and what you want to project,” explains the trained concert pianist. “They are an intimate expression of your spiritual essence as well — as close as you can come to visually communicating it with others.”
Here, the businesswoman tells WWD how she seamlessly transitions from boardroom meetings to cocktail receptions while remaining fashion-forward.
WWD: How do you dress for work now compared with five years ago?
Julia Steyn: [I wear] fewer suits for sure. You can express yourself with statement jewelry, which I absolutely love. I collect anything from unusual gold pieces to vintage pieces. Probably half of our team is female and that’s inspiring because I get to take the trends from my team.
WWD: What’s been the catalyst for change in terms of the way that you dress in your industry?
J.S.: Inherently, there’s so much design with cars. It’s humbling when you walk into our design building and talk to the artists who make these amazing machines. I take a lot of inspiration from that. It means structural elements, it means leather, it means a very bold color. We are changing because the whole [automotive] industry is changing. We are merging a lot of things that we were really good at for 100 years — hardware, scalable business, beautiful cars with the software. We are in this cusp of completely changing cultures. Maven is exactly that middle point.
WWD: Who is your biggest influence when it comes to your at-work wardrobe?
J.S.: I take a lot of advice and inspiration from my family. It doesn’t matter how senior I get in my career, I don’t walk out the door without my mom and my nine-year-old son approving it. Russian women are very particular about their clothes. My mom was a concert pianist and it’s in the DNA. She absolutely loves fashion and she pushes me to be much more edgy than I sometimes feel comfortable, which I like.
WWD: Do you follow fashion trends?
J.S.: I enjoy looking at what’s out there. I think about the way I shop and it’s really Net-a-porter, Moda Operandi and Farfetch. It’s cool because you get to see designers from all over the globe. You can sit in a meeting and if you’re really not paying attention, you can do a lot of damage on Net-a-porter delivered to your doorstep very easily.
WWD: How often do you have new clothes delivered?
J.S.: It’s a secret — my husband would not appreciate.
WWD: Do you have any favorite designers or brands?
J.S.: I love Maria Dobreva who designed the choker I wore today. It’s really fun. Asher Levine is doing really interesting cutting-edge things with leather. It’s very technical what you can actually do with the pieces. I love Tome because it’s so feminine and appropriate to transition between day and evening. Of course, Valentino, Chanel, Givenchy — how can I say no? It’s nice to see established brands also being current and modern and interesting.
WWD: Does what you wear impact your work at all?
J.S.: I wear a lot of things that can transition from day to evening. I like a lot of leather jackets because I travel a lot and they’re wonderful because they don’t wrinkle.
WWD: You seem to really appreciate fashion.
J.S.: People in the business world [often] shy away from being passionate about their clothes. You’re supposed to be able to express yourself and I just appreciate the art and the labor and vision that goes into this. Every time I put on a piece of designer clothing I know how much passion went into it so it inspires me everyday to be more passionate in what I do. When you start a new brand like Maven in a very old industry, you’ve got to be passionate.
WWD: If given the choice would you prefer to dress more casually or more formally?
J.S.: I’m the kind of girl who believes you can never be overdressed.
WWD: How does your style shift from Detroit to New York to the Hamptons since you’re in all three places regularly?
J.S.: Detroit is fun because you get to try a really edgy wardrobe there and people appreciate it. Detroit is an opportunity to experiment. New York is an opportunity to really take your day-to-evening looks out. In the Hamptons, it’s fun and casual and flowing.
WWD: What’s your favorite purchase of the past few months?
J.S.: I just got a brand new red Tome dress for the Hamptons and I’ll wear it on my birthday, which is the Fourth of July.Read more at:marieaustralia