Actress Emma Myers is busy, starring in some of the most beloved and popular IP franchises today. When she isn't fighting off monstrous classmates or doing spellbinding choreography (calling all "The Dead Dance" fans!) in Wednesday or venturing into the Overworld in A Minecraft Movie, the actress is solving murders as the charismatic Gen Z sleuth Pip Fitz-Amobi in A Good Girl's Guide to Murder, which just returned for its highly anticipated second season.

Even when we speak over Zoom during a press cycle for AGGGTM, the sweet and shy Myers is in the midst of filming season 3 of Wednesday. It's giving "No sleep. Bus. Club. Another club…" But Myers wouldn't have it any other way. She notably lights up when we dive into all things Pip and AGGGTM season 2. Following the massive ratings success of the first season on Netflix, the mystery thriller is back to deliver fans of the Holly Jackson best-selling YA series and show a new nail-biting investigation to solve and plenty of Pip-Ravi moments to make us swoon. Pip is growing up this season, but so is Myers.

You are filming Wednesday season 3. How's it going?

We're just about halfway now, almost halfway. It's going really well. It's flown by, this season, which is crazy, but it's been really fun.

Any new dance sequences this season?

I don't even know. I haven't read all of the scripts yet. They don't give them out very willingly. I don't have the scripts until right before where we're about to shoot the block, so who knows?

Were you surprised by how much the Dead Dance took off?

Not really because it's Lady Gaga, so I knew it was going to be a moment. I am so glad that the people were so receptive to it, and the fact that me and Evie [Templeton] got to dance at the O2 [Arena] as a result, that was crazy. But I definitely knew that people were gonna go crazy just for the song because it's Lady Gaga.

Well, the real reason we're chatting today is your other Netflix series, A Good Girl's Guide to Murder. You return as Pip for season 2. What excited you about returning as the teen sleuth?

I like each book more than I did the last one, and I had such a good time on the first one. I made so many good friends, and I also feel very unsettled if I start something and I don't finish it. So I was like, "I have to get back in and finish this next season." I think the show deals with a lot of important topics, and I like to be able to bring awareness to that, but also, playing Pip is such a challenge for me. It is nice to stretch those muscles and be challenged. I love the books, I love the cast, and it was kind of a no-brainer.

With season 1 under your belt, did you feel more confident as Pip going into season 2, or were the nerves still there?

It's a mix to be honest. I felt a bit better because I had one season under my belt, but going back in, I think we were all so nervous because there are so many expectations around it following the books. But [A Good Girl's Guide to Murder author] Holly Jackson did write this season, so I feel good with the material and stuff. She knows her story best, so I felt okay in that aspect. But still, going back into it, especially in an accent that is not my own, it's a bit daunting. You're excited to do a new season and bring a new story and keep going, but then you also want to make sure you're getting everything right. So I think it's a bit of a mix of fear and excitement.

Do you have any tricks for yourself in terms of finding your English accent? How do you prepare?

I don't watch anything because Pip's accent is so region-specific. I'm not trying to do a London accent. I'm not doing a northern accent. It's Standard Southern British [English] (SSBE). I have a dialect coach who's amazing. Her name's Elsbeth, and she's the best woman ever. I'm so glad that I have [her] because, on season 1, I didn't have my dialect coach with me on set. I would do the session once a week, which was definitely not enough, but I joined super late last season, so I only had a few weeks to learn the accent in the first place. Going back into the second season, my stipulation was my dialect coach has to be on set every day, and I have to run my lines every day. It also helps just being around the entire cast, who are English. It helps when you're around people 24/7 who are speaking like that. I was living in Bristol, and a lot of my friends are English, and I genuinely think it has a lot to do with the environment but also a dialect coach.

How has Pip evolved from season 1 to season 2?

Well, somebody attempted to murder her, so that definitely changes a lot for a teenage girl. She's definitely maturing. She's trying to move on from everything that happened last season, but of course, she can't really help herself. She gets stuck back into another case, and Pip always feels like everything is on her shoulders, even if she has nothing to do with the situation whatsoever. So you're just trying to move on, trying to grow and walk away from it. She can't help it. I definitely think that she's changed so much because going through what she went through in season 1 would change anybody, especially a teenage girl.

Season 1 ends with the long-awaited kiss between Pip and Ravi. Where do we find them now?

They're a bit older now. Their relationship is heading in a more mature direction. This is Pip's first big relationship and Ravi's first real one, I would say, since everything's happened. They found comfort in one another, so they're both trying to move on together. … They both went through this huge thing together, and I think that really bonds two people. So they definitely have a much stronger relationship this season. I like their story arc. It will be fun for people to see the Pip-Ravi moments.

What was that like, building on that dynamic with Zain Iqbal, who plays Ravi?

It's good fun. There's a scene this season that's very dramatic, and I'm not spoiling anything, but it's nice to have somebody that you know when you're doing these big scenes. Otherwise, it would just be like the worst thing ever. The content that we're shooting, it can get repetitive and stuff if you don't mix it up and try to have fun with one another, and I think we both try to make jokes out of it, honestly. Pip has to explain things so that the audience understands. We definitely try and have good fun with it when we can because it can get so expositional.

You said this season has been really special to you. Can you elaborate?

Season 2 felt like a huge step up for some reason. It felt so much bigger when we were shooting it than it felt shooting season 1. It's so special to have Holly write the scripts herself, and it's nice to have her on set constantly because if I ever have any questions, if anybody has any questions, she's always there to answer. I also was so creatively involved in this season, getting the script drafts and giving notes and deciding things. That was really fun for me because I am on set all day, every day, and it's nice to be able to express your opinion and have it be listened to. This whole crew is just so amazing with collaborating. I love our directors this season, and I love our set pieces, and our new additions to the cast have been amazing. So it was genuinely the best time.

If a third season happens, what would you like to see next for Pip? Is there a particular book you are excited to do?

I think that's Holly's goal—to follow the books as closely as possible. That would be my goal as well. There are so many fans of this series. I want to do them justice. But the third book's my favorite, so I would love to be able to do all the stuff that happens in the third book. It gets so big and crazy and emotional, and it's a really good read, so I'm excited to see how that would translate on-screen.

You've described your teen self as being in an emo era. How would you describe your 20s self?

Oh, that's a good question. I'm finding out a lot of things about myself that I would never have thought in my teens. I think the past couple of years have been filled with a lot of big firsts for me, and going through those experiences, you learn so much about yourself. So I would say maybe my 20s [are]… It sounds so influencery corny but like self-exploration. [It's] my self-exploration era.

You recently turned 24. Are you ready to move on from playing teen characters? Is there something you'd really love to explore next?

Yeah, I would love to start mixing things up with adult roles. I know that I do not look that old. How realistically I can portray somebody who's actually my age is debatable, but I do want to start doing more mature things. I'd love to do a sci-fi project, and I'm obsessed with Backrooms that's coming out. I was obsessed with back rooms online when I was a teenager, so something of that nature would be so fun. But I don't mind playing teenage characters because I was a teenager, and sometimes, I still feel like I'm 14. If the role is right and the character is right, I have no problem playing whatever age. I just want to be able to connect with the character. I'd like to start mixing up, but for Minecraft, I drive this car, and I drive this moving van on the back. I got so many comments from people in my life being like, "You do not look old enough to be driving that van around." So I think it just depends on how much somebody can age me up.

You have talked about being guarded on social media. How do you decide what you share in that space versus what you keep private?

Most of my Instagram is used mostly for work things now. I don't post too much outside of work. I do occasionally like to do a photo dump of pictures, but they don't really reveal too much about me. I just like to post things that I find or my friends and stuff. And all of my friends who post pictures of me, everything that they post is always approved by me, so it's not like things are being shared about me that I don't know. When my Instagram was first blowing up, I would be pretty open about my life because I've always been an open person. I'll share details about myself, but it's when people start crossing lines and start getting weird… Because you're sharing things about your life, they assume that they know you more than they actually do and then make assumptions. It just goes down a whole rabbit hole, so I pulled back on how much I post to save my own sanity and the people around me.

You get to explore different fashion styles through the characters you play, but how would you define your own personal style and relationship to fashion in your everyday life?

It's changing up so much. I've always been drawn to baggier clothing and I guess more street style just because that's something I'm comfortable with. I grew very much a tomboy and never really wanted anything feminine to wear, but now, I'm getting to that point where I'm like, "Oh, maybe I do want to wear a dress. Maybe I do want to wear a skirt." … Within the past few weeks, I just bought a bunch of skirts because I'm like, "I can force myself to wear these because I want to be able to." So I always feel like it's changing. I think it definitely depends on the season. I will not be in anything but jeans and a sweatshirt in the winter because it's too cold.

Is Enid creeping in a little bit?

There's some feminine wardrobe that I think is cool, but I would not wear the color palette that she wears, so I'd have to find an equivalent to my color palette. Her fashion sense is great, and it works for her.

So from a style perspective, you're more of a Pip?

Definitely. A lot of Pip's costumes for season 2, I was always like, "Oh, this one feels great!" I think I'm definitely more aligned with her style.

I know nostalgia is a big thing for you. What are you nostalgic about right now?

You know what I've been nostalgic about is my friend Asha Banks. She has been doing so well recently. She has a film coming out. I just watched her perform in London. There were so many people in the audience screaming these songs back to her, and I remember when she came to visit me [while] shooting season 2 of Wednesday before any of her music was released, and she showed me a few demos of her songs. It's crazy. She was such a baby when we first met, and now, she has done this world tour and has so many fans. She's got these films coming out. I'm super proud of her, so Ash is who I've been nostalgic about.

A Good Girl's Guide to Murder season 2 is now streaming on Netflix.

Evie Templeton is officially having a major style moment. After capturing audiences on Netflix's Wednesday as eccentric Agnes DeMille, the 17-year-old breakout star has emerged from the dark, quirky halls of Nevermore to the sun-drenched, high-fashion world of the French Riviera.

Just yesterday, she made her debut at the Cannes Film Festival, where she walked the red carpet for a screening of her upcoming comedy-horror film Victorian Psycho. The actress seamlessly blended classic elegance with a distinct edge—and playful accessories—solidifying her status as an exciting new talent to watch both on-screen and on the red carpet.

To pull off her stunning festival debut, Templeton collaborated with powerhouse celebrity stylist Rebecca Corbin-Murray. Together, they created two looks that worked with the "Cannes daytime chic" dress code, featuring designs from Rodarte and Miu Miu that subtly paid homage to the film's gothic-romance roots.

Below, the actress opens up about the inspiration behind her ethereal wardrobe, what she's learned from costar Jenna Ortega, and the "beautifully bonkers" experience of bringing a beloved psychological horror novel to life on-screen.

How did you settle on these looks with your stylist, Rebecca Corbin-Murray? Why are they perfect for Cannes?

It was such a wonderful, collaborative process—as it always is—with my stylist, Rebecca. Since it was a daytime premiere, the dress code was "Cannes daytime chic," and I wanted a look that was youthful and classic but felt very much like me.

We went for two different looks to get the best of both worlds, settling on an incredible Rodarte white dress for the photo-call, which felt like the perfect summer look, but with the collar, [it was] a nod to the Victorian era of the film. For the carpet itself, we decided on a Miu Miu number with a little black bow and embellished jewels. It felt so cute and fresh! Miu Miu is a brand that I've always resonated with, and I love their aesthetic. To be in Cannes on behalf of [Victorian Psycho] wearing such incredible brands has been a dream.

Tell me about your glam and your accessories and how they completed the look.

For the Rodarte look, I wore a black choker to complete the look (another nod to the film!), which felt quite gothic and chic. Of course, I couldn't forget a pair of sunglasses! I went for a sleek black pair to keep it very classic. Black strappy heels felt like the best fit for both looks, and on the carpet, I wore some beautiful pearl drop earrings, complementing the embellishments on my dress.

I worked with the dream team of Bjorn Krischker and Sara Hill for my hair and makeup. We kept it very simple, dewy, and youthful with a little liner to make my eyes pop. We styled my hair with just a subtle wave. It felt like the perfect summer hair and makeup, so [it was] an ideal fit for my first Cannes.

How faithful an adaptation is the movie compared to the Victorian Psycho book? What specifically do you think readers will love about bringing the novel to the screen?

I actually had read the book by Virginia Feito before I was cast in this project. I saw the pages come alive, so translating her fantastic writing into a film was an honor. I was surrounded by such a passionate cast and crew on set. I'm excited for audiences to experience the movie and be immersed in the beautifully bonkers world we built.

What have you learned about acting from Jenna Ortega on the set of Netflix's Wednesday? Do you have any memorable behind-the-scenes moments you can share about working with her?

I've learned so much working on Wednesday with so many inspiring creatives. Jenna is like a big sister to me, so getting to collaborate with her and build the relationship between our characters in the show was a joy!

One of the funniest memories I have is from the body-swap episode. We were shooting a scene where I hand her a coffee cup, and she knocks it out of my hands. During one take, it flew up and landed on someone's head, which had us all laughing.

How would you describe your interest in fashion? Where do you get your fashion inspiration from? What are some brands you'd like to wear and/or work with in the future, and why?

Fashion has always intrigued me, and I'm learning more and more about it, discovering my personal style. I love how fashion can transform you on the screen and also for events like this. I felt so lucky to wear Rodarte and Miu Miu in Cannes, two dream brands! I love Miuccia Prada. I think she is incredible, so wearing a Miu Miu dress for the carpet was a complete honor.

It would be wonderful to work with Dior, Chanel, Loewe, Balenciaga, and, of course, Miu Miu again!

Corbin-Murray also styles Florence Pugh, Simone Ashley, and Lily James. What are a couple of your favorite looks she's styled for these celebs in the past? What do you love about her approach to styling?

I couldn't possibly choose! They are all incredible women and actresses I hugely admire who always make such cool, considered choices in what they wear. I love how collaborative Rebecca is. … We can really sit and chat through our ideas together, what we feel looks good, and the kind of direction we want to go in. She always thinks about the little things too—a jacket here, a bag there, the perfect accessories to complete a look. She understands my personal style so well.

As a faux Francophile, one of my favorite indulgences—aside from pastries and designer fashion, of course—is the Netflix series Emily in Paris. The fifth season just began streaming, and it's already given me so much colorful outfit inspiration to carry into 2026 and beyond.

There are tons of fun fashion moments in each episode; it's hard to pick just one to replicate. So, I've narrowed it down to a few stellar pieces that are guaranteed to add a little je ne sais quoi to any wardrobe, especially as we head into the darkest days of winter. Even Sylvie Grateau would approve.

From Emily's tres chic power blazers and wild rompers to Mindy's party-ready ensembles, I've found standout styles to shop for and wear ASAP. Keep scrolling to check out inspo straight from season 5 of Emily in Paris that you're about to see everywhere.

1. Red Blazer + Colorful Top

Marilyn Fitoussi, the show's costume designer, signaled that red is the color of power for season 5. Whether it's a cropped version or an oversized silhouette, a vibrant crimson blazer is the It item for your 2026 work wardrobe.

2. Geometric Jumpsuit

If you're looking for a "more is more" moment, look no further than the printed jumpsuits and catsuits making a cameo this season. It's the ultimate base layer for a high-fashion winter.

3. Equestrian Blazer + Leggings

Tailoring is reaching a fever pitch this season. Look for structured, heritage-inspired blazers with velvet collars and brass buttons. It's giving "weekend in Normandy" in the most polished way possible.

4. Green Blazer + White Shirt

Pattern clashing is back, and Emily's green-and-white striped jacket is leading the charge. Pair it with complementary prints to nail that maximalist Parisian charm.

5. Blue Fringe Minidress + Platform Heels

This high-shine piece is the ultimate party showstopper, blending delicate movement with tough metallic hardware. It captures that quintessential Mindy Chen energy: daring, decadent, and destined for the dance floor.

6. Yellow Bubble-Hem Dress

The bubble hem is officially making its high-fashion comeback. This sunny, voluminous silhouette is exactly what we need to inject some joy into our social calendars.

7. Head-to-Toe Red

No Emily in Paris list is complete without gravity-defying footwear. Mindy's red platforms are the perfect companion to the season's miniskirts, adding height and a pop of primary color.

Picturehouse Central, a storied cinema in London's Piccadilly Circus, is no stranger to premieres. But on Tuesday evening, it was completely transformed into the image of a honky-tonk distillery for the official UK screening of House of Guinness, Netflix's highly anticipated historical drama set to be released on September 25, 2025.

It chronicles the four heirs to the Guinness brewery following the death of the family’s patriarch in a bid to secure the future of the country’s most famous drop of stout. Backdropping this battle of succession is a rebellion against the status quo that’s bubbling up from the streets, with working-class rebels fighting for Ireland’s republican status amidst a state of political turmoil. The latest from Peaky Blinders creator Steven Knight, the eight-part series takes place in the late 1800s and is set in the Irish capital, so it’s fitting that the premiere venue's usually plush red interiors and neon-lit candy bar were disguised with fake oak barrels and industrial chains.

Taking Who What Wear UK along for the event was breakout star Niamh McCormack. The 24-year-old Irish actress portrays a "determined" insurgent named Ellen Cochrane, though it could be said that the release party was almost as action-packed as the real-life incidents that inspired the show.

Where House of Guinness sees McCormack swaddled in mud-stained coarse-fabric petticoats, her looks for the show’s press couldn’t be further from the costumes donned. McCormack has opted for a form of "method dressing", a stylish decision in which an actor decides to pay homage to their character through their clothing choices during the press run.

She has previously worn a Victorian era-esque set from the Shanghai-based brand Shushu/Tong, but McCormack’s press tour culminated with a stunning gathered Loewe minidress. An admirable nod to the creative prowess and talent of Northern Irish fashion designer Jonathan Anderson, the dress was completed with a ruffled Flamenco hemline and topped off with stunning Cartier jewellery.

"It is important to acknowledge new and emerging designers as well as the established fashion houses," explains McCormack. "It is a dialogue between past and future." Personally, I can’t think of a better fashion tether to a series that recounts the fate, tragedies and fortunes of one of the most successful dynasties in Europe. But before House of Guinness hits the small screen, we caught up with McCormack pre-premiere to discuss everything from her glam rituals and the best place in town to get a pint of the black stuff, as the beer’s adherents colloquially call it. (Hint: It’s not The Devonshire in Soho, where the cast kicked on afterwards for a Guinness-pouring contest.)

Scroll on to read our conversation in full.

Congratulations on the show! How excited are you for the London premiere of House of Guinness tonight?

"I am beyond excited for tonight! It feels like the show isn’t our little secret anymore. We’ve done our work on our characters and performances, so now it’s up to the audience to enjoy!"

You’ve already screened the show in Ireland. What was the reception like there, and how do you think the audience will react tonight?

"We had such a great reaction from the Dublin premiere, and I can’t wait to hear what people think tonight! I am sure people will be surprised at how quickly you can be immersed in the world and care about the characters Steven Knight has created. It feels very special, especially being from Dublin myself."

What is your vision for what you’re wearing tonight? Was there a specific look or aesthetic you were inspired by?

"The vision we’ve gone for is divine femininity. Think The Birth of Venus by Sandro Botticelli, which is one of my favourite paintings. I’m such a Loewe fan, too, and I feel so grateful to be wearing this beautiful dress tonight."

What do you love most about look?

"I mostly love how elegant [the look] made me feel. It felt like Old Hollywood glamour, mixed with ethereal elements."

You’re a long way from the gritty streets of 19th-century Dublin. How are you paying homage to your character, Ellen Cochrane, through your outfit?

"I was paying homage to Ellen with the theme of birth and transformation referenced [in the painting]. Ellen goes through a lot of transformations and birthing of ideas as [the series] progresses, as well as being an independent and divinely feminine woman who is in charge of her own destiny."

What do you think Ellen would have to say about what you’re wearing?

"I think Ellen would love this look, but she would never be able to wear this [as is]. She’d need a pair of boots and a rifle! Ellen would also have the dress dirty in the first five minutes of wearing it."

How does your approach to red-carpet dressing differ from your day-to-day off-duty style?

"I approach red carpets as an excuse to get dressed up. It’s not every day you get the privilege to wear such beautiful clothes, and I love to pay homage to the role or the project through that as a means of expression."

Tell me about your GRWM rituals. Do you have any superstitions or customs that you swear by to get you through the process?

"My [getting]-ready rituals include icing my face—this helps me so much!—a little Gua Sha action, a nice body lotion and a sheet mask! I just really pamper myself and lean into the fun of it all!"

What kind of music do you listen to whilst getting glammed up?

"I listen to all kinds of music when I’m getting ready. If it’s just me on my own, maybe [I’ll put on] some nice soft piano or classical music to calm the nerves. For all the Guinness press, I’ve been listening to a lot of '90s dance anthems to get the energy flowing, especially early in the morning. Everyone has been loving it; it really sets the tone for the day ahead. 'Inner Smile' by Texas has really gotten me going for tonight!"

How do you decompress after a big premiere like this?

"I have this ritual, which I do wherever I go, called 'bed picnic'. I set up a towel on my [duvet cover] and lay out my takeaway of choice or whatever snacks I’ve selected like a proper picnic, and watch something on my laptop. It’s the little things!"

Where are the best places in London to grab a pint of Guinness?

"The Auld Shillelagh pub does a great pint of Guinness in London, but you’ll never get a better pint than in Dublin’s fair city."

House of Guinness is released on Netflix on 25 September.

Photographer: @pip.director
Photography assistant: @andreazubovic_
Stylist: @oisínboyd and @ellie.may.brown
Make Up Artist: @zoetaylormakeup
Hair: @leongorman

Whether you're on team Conrad or team Jeremiah, we can all agree that actress Lola Tung's style secrets are worth sharing. The 22-year-old star of Prime Video's The Summer I Turned Pretty captured attention with an array of exceptional outfits during her recently concluded press tour. But it was a final stop in Paris, in which Tung stepped out in a shiny sequined style, that caught our attention.

Accessorized with Balenciaga wrap sunglasses, silver metallic stiletto sandals, and a baby-pink bag by Charles & Keith, Tung's look recalled the fanciful "early aughts party girl" style popularized by Paris Hilton and her crew. The best part? Her head-to-toe ensemble is still available to shop. Keep scrolling to get the details on Tung's pretty party attire, purchase the same pieces, and browse similar styles. After all, Belly will always have summer, but this fall, it's all about Lola Tung.

On Lola Tung: Blumarine dress; Charles & Keith bag; Balenciaga sunglasses; Giuseppe Zanotti shoes

Shop Lola Tung's Exact Outfit

Shop Similar Pieces to Re-Create the Look

Watching TV and movies is one of my favorite hobbies, so I'll never turn down an opportunity to write about the entertainment industry. I've curated shopping stories inspired by The White Lotus and Palm Royale and reported on reboots of The Devil Wears Prada and Freaky Friday. Now, I'm turning my attention to another title with a passionate fandom: Pride & Prejudice. As Entertainment Weekly reports, Netflix is resurrecting the classic Jane Austen story that was famously adapted into a 2005 movie starring Keira Knightley and Matthew Macfadyen.

Today, we finally have answers about the new cast. Emma Corrin will play Elizabeth Bennet, Jack Lowden is our new Mr. Darcy, and Olivia Colman has been cast as Mrs. Bennet. Is that a dream lineup or what? Per Entertainment Weekly, Netflix's version will be a six-episode television series instead of a film. It will be written by Dolly Alderton, author of best-selling books Good Material and Everything I Know About Love, and will be directed by Euros Lyn, who has previously helmed Doctor Who and Heartstopper. While we await further casting news, scroll down to shop the vibe.

Shop the Pride & Prejudice Vibe for Spring

The only thing better than a new season of Emily in Paris to devour in one sitting is the real-life Emily Cooper, aka Lily Collins, tearing it up sartorially while doing press for the show. Ever since season one of the Netflix hit series, Collins has taken her press looks very seriously—as seriously as Emily does on screen, with all the same luxury designer pieces but a slightly more pared-back aesthetic.

Last time around, for season three, we saw the MaXXXine star in a mix of Saint Laurent, Alessandra Rich, Dior, and Fendi during her press tour, with highlights including the custom knotted-jersey gown by Anthony Vaccarello that she wore to the show's premiere in Paris and hyper-elegant A-line Dior dress that she and her stylists, Rob Zangardi and Mariel Haenn, chose for an appearance on The Late Show With Stephen Colbert.

Naturally, though, season four's press tour looks are the chicest and most impressive yet. With the first five (of 10) episodes dropping today, we thought it was only right to highlight some of the best (and most French-girl coded) outfits Collins and her team have debuted thus far. For more, stay tuned for part two of the season, which arrives on Netflix on September 12 and will surely be accompanied by more can't-miss ensembles by the show's star.

On Lily Collins: Saint Laurent Gio Belt ($675), Pencil Skirt ($1050), Cross-Back Bodysuit ($2200), and Lee Slingback Pumps ($1190)

For the Los Angeles premiere of the fourth season of Emily in Paris, Collins didn't come to play, opting for a very office siren–esque Saint Laurent look, including a deep-V bodysuit paired with a fitted knit pencil skirt, black-and-gold belt, sheer tights, and patent-leather slingbacks. Between her sleek chin-length bob and this undeniably chic ensemble, this photo will be all over my fall mood board.

On Lily Collins: Valentino Garavani shirt, skirt, and Wool and Silk Valentie Tie With Metal V Applique ($470); Ferragamo Vidya Patent Dual-Buckle Wedge Pumps ($1090)

With the Olympics taking place in Paris this year, Collins naturally teamed up with NBC to create some buzz around the Games as well as Emily in Paris season four, shooting a spot with American track and field athlete Anna Hall in a red Valentino couture miniskirt covered in 3D florets, blue button-down shirt, and black necktie. She paired the look with black tights, red Ferragamo wedges, and a black beret (of course).

On Lily Collins: Cartier Trinity Earrings ($6550), Panthère De Cartier Ring ($11600), and Love Wedding Band ($1250); Mark Kenly Domino Tan Dasi Dress ($747); Alaïa Mesh Mary Jane Ballerina Flats ($890)

Collins formally kicked off her press tour for season four in Copenhagen, where she co-hosted a dinner with Netflix and Vogue Scandinavia during Copenhagen Fashion Week. For the occasion, she appropriately chose a Danish brand, Mark Kenly Domino Tan, or MKDT Studio, wearing a gray sleeveless dress from the pre-fall 2024 collection. With it, she chose Alaïa's viral net flats and Cartier jewelry, including the French jewelry house's Trinity stud earrings, a diamond Panthère de Cartier ring, and a gold band from the Love line.

On Lily Collins: Celine dress; Cartier Panthère de Cartier Earrings ($32300)

This exaggerated Celine pussy bow feels like the perfect addition to Collins's Emily in Paris press tour, especially since the actress recently hinted in an interview with InStyle that we'd be getting more fall, winter, and holiday looks on her character in season four compared to past seasons that took place during warmer months. With it, she wore a black, long-sleeve minidress and Panthère de Cartier earrings.

On Lily Collins: Celine Cropped Cardigan ($1950); Cartier Love Earrings ($5450) and Love Ring ($4950)

Before the official kickoff of the Emily in Paris press tour for season four, Collins and her co-star Ashley Park went on David Chang's Netflix cooking show Dinner Time Live, for which the actress wore a simple, chic ensemble featuring a crochet short-sleeve cardigan from Celine, Cartier jewelry, and a pair of dark-wash jeans.

If three of your favorite F-words are fun, French, and fashion, then you're probably already counting down the days until the season-three premiere of Emily in Paris—only 12 remain until Lily Collins and the amiable albeit occasionally aloof cast of characters magically appear on Netflix on December 21.

Creator Darren Star has a flair for the dramatic, so while we're not sure what that means for Emily's relationship and career, we're pleased to see that the costumes continue to be next-level. Marylin Fitoussi remains at the helm of the costume-and-wardrobe department, delighting viewers with Emily's occasionally avant-garde (or perhaps just overly American) style, showcasing vibrant colors and punchy patterns mixed in with classic "French-girl" style as seen on supporting characters.

So while we don't yet know what antics Emily will get up to this season, we do know that the show's over-the-top costumes are reason enough to tune in. Keep scrolling for a sneak peek at a few of Emily et amis' looks. 

Don't let the custom-made feather cape distract you from Casadei's amazing platforms, or the cute Magda Butrym dress.

Zebra is always eye-catching, but it's the sculptural sleeves on this Dolce & Gabbana jacket that makes it a true scene stealer.

We knew it wouldn't be long until Schiaparelli made an appearance—so coveted.

The girls are back, and their style is bolder than ever.

Even the set features pops of fun colours. But let's all talk about Sylvie's amazing trousers for a second.

Maternity wear has never looked so major.

This Essential Antwerp knit clearly gets a lot of airtime, and will be popular with Emily's fashion fans as something easy to wear.

Power suiting, but make it bright.

Now this is surprisingly pared back—could the Parisian influence finally be kicking in?

Allons-y.

Who said you can't do the heavy lifting while wearing a micro mini?

An updo usually signals an over-the-top evening.

We can't wait to find out what Sylvie is thinking. Also, shout-out to the Miu Miu paisley print from 2015—nice find.

Camille with the scene-stealing suit.

Clearly, zitrus brights have been on the minds of the design team…

Him again?

Santé!

One part disco to one part cosy. Interesting.

Just a casual day at the office.

Gingham Livy bralette with a leather-detailed Barbara Bui jacket… why not?

Even her towel is terrific. 

Ashley Park's character, Mindy, always has the most fun shoes.

Yep, already intimidated. 

Cape goals. 

Knee socks appear to play a leading role in Season 3.

The night is young! 

True joie de vivre. 

You know Emily didn't pair that neon tartan Mira Mikati blazer with anything basic. 

We'd say the neon green onesie with cutouts steals this scene, but Ashley Park's voice is even more amazing.

It's giving classic American fashion icon Cher Horowitz. 

Honestly, this look is kind of tame for Emily.

That's one way to mix prints.

Even the jewelry is intentional. 

No seriously, him again? Instead, let's appreciate the floral concoction of a Giambattista Valli dress.

Entrancing for its simplicity—this outfit looks chic.

See, Emily's not always the brightest one in the room.

Bonne chance on season three, Emily! 

Next, the latest outfits from And Just Like That…

This story was originally published on Who What Wear US and has since been updated.

If three of your favorite F-words are fun, French, and fashion, then you're probably already counting down the days until the season-three premiere of Emily in Paris—only 12 remain until Lily Collins and the amiable albeit occasionally aloof cast of characters magically appear on Netflix on December 21.

Creator Darren Star has a flare for the dramatic, so while we're not sure what that means for Emily's relationship and career, we're pleased to see that the costumes continue to be next-level. Marylin Fitoussi remains at the helm of the costume-and-wardrobe department, delighting viewers with Emily's occasionally avant-garde (or perhaps just overly American) style, showcasing vibrant colors and punchy patterns mixed in with classic "French-girl" style as seen on supporting characters.

So while we don't yet know what antics Emily will get up to this season, we do know that the show's over-the-top costumes are reason enough to tune in. Keep scrolling for a sneak peek at a few of Emily et amis' OOTDs. 

Don't let the feather jacket distract you from the platform footwear.

Zebra is always eye-catching, but it's the sculptural sleeve that makes this top a scene stealer.

French girls are fearless when it comes to fashion.

The girls are back, and their style is bolder than ever.

Even the set features pops of fun colors.

Maternity wear has never looked so major.

Just one of many kisses, we hope.

Power suiting, but make it bright.

We love a wide-leg trouser for work.

Allons-y.

Who said you can't do the heavy lifting while wearing a micro mini?

An updo usually signals an over-the-top evening.

We can't wait to find out what Sylvie is thinking.

Camille with the scene-stealing suit.

We're sensing a lime green motif this season.

Him again?

Santé!

Emily always stands out.

Just a casual day at the office.

Gingham with leather? We'll see…

Even her towel is terrific. 

Ashley Park's character, Mindy, always has the most fun shoes.

Yep, already intimidated. 

Cape goals. 

Super subtle, ladies. 

The night is young! 

True joie de vivre. 

You know Emily didn't pair that neon plaid blazer with anything basic. 

We'd say the neon green onesie with cutouts steals this scene, but Ashley Park's voice is even more amazing.

It's giving classic American fashion icon Cher Horowitz. 

Honestly, this look is kind of tame for Emily.

That's one way to mix prints.

Even the jewelry is intentional. 

No seriously, him again?

Oddly entrancing. 

See, Emily's not always the brightest one in the room.

Bonne chance on season three, Emily! 

Next, Pauline Chalamet on Wisdom, Wit, and Wardrobe Changes

If you haven't started Anatomy of a Scandal on Netflix yet, please listen to me, and do it. The plot is gripping, yes, but it was the interior and Sienna Miller's wardrobe that really compelled me. Miller plays Sophie Whitehouse, the wife of politician James who becomes the center of a cheating scandal that ends up in a trial. 

"Actors say this all the time, but I really do feel that there's a story you're telling through what you wear," Miller explained to Harper's Bazaar. "Like when she was power dressing, I made the decision to only wear coats on my shoulder. Weird things that you do as character choices." Sophie's wardrobe is an important part of the show, as Costume Director Sam Perry carefully assembled a capsule of quiet, luxury items from The Row, Celine, Victoria Beckham, and Cefinn.

"Clothing is power, but it isn't necessarily happiness. Your whole world can still fall apart if you're wearing a nice frock," Perry said to The Times of the styling. The deterioration is carefully reflected in the costumes, as Sophie dresses more casually throughout the series.

She might have a power Westminster wardrobe, but it is softer than the overly formal trouser suits and coat dresses you might associate with political figures. There is a focus on a beautiful color palette and beautiful fabrics, which is a quiet approach to luxury.

I am so obsessed with her costumes that I have imagined a capsule wardrobe she would love. Keep scrolling to shop the edit. 

Shop This Sophie-Inspired Capsule

This post originally appeared on Who What Wear UK and has since been updated.

Next up, Hot Take: These 7 TV and Film Performances Are Not to Be Missed

If you haven't started Anatomy of a Scandal on Netflix yet, please listen to me, and do it. The plot is gripping, yes, but it was the interior and Sienna Miller's wardrobe that really compelled me. Miller plays Sophie Whitehouse, the wife of politician James who becomes the centre of a cheating scandal that ends up in a trial. 

"Actors say this all the time, but I really do feel that there's a story you're telling through what you wear," Miller explained to Harper's Bazaar. "Like when she was power dressing, I made the decision to only wear coats on my shoulder. Weird things that you do as character choices." Sophie's wardrobe is an important part of the show, as Costume Director Sam Perry carefully assembled a capsule of quiet, luxury items from The Row, Celine, Victoria Beckham and Cefinn. 

"Clothing is power but it isn't necessarily happiness. Your whole world can still fall apart if you're wearing a nice frock," Perry said to The Times of the styling. The deterioration is carefully reflected in the costumes, as Sophie dresses more casually throughout the series.

She might have a power Westminster wardrobe, but it is softer than the overly formal trouser suits and coat dresses you might associate with political figures. There is a focus on a beautiful colour palette and beautiful fabrics, which is a quiet approach to luxury.

I am so obsessed with her costumes that I have imagined a capsule wardrobe she would love. Keep scrolling to shop the edit. 

Shop This Sophie-Inspired Capsule

Next up, see our spring shopping guide for 2022.

There are spoilers ahead—you have been warned! 

*Imitates finest Julie Andrews as Lady Whistledown voice* Dearest readers, unless you have been excluded from the cultural conversation of the last two years, you will be aware of the Netflix blockbuster series Bridgerton and its namesake family, who set the Ton ablaze with drama and scandalous story lines ranging from the archaic (marriage-market matchmaking) to the downright alluring and meme-worthy. (The Duke of Hastings seductively licking a spoon is indelibly marked in our thirsty minds.)

Now, Bridgerton is back for a second season, and in keeping with the story line of the Julia Quinn novels the show is based on, the focus will pivot away from the initial tale of Regé-Jean Page and Phoebe Dynevor’s Duke and Duchess of Hastings and toward new love matches. 

So that means dance cards are ready for bachelor Anthony Bridgerton (Jonathan Bailey)—who is determined to find the finest partner to reflect his status—and there’s a new family on the social scene, the Sharmas, consisting of single mother Mary (Shelley Conn) and her daughters Kate (Simone Ashley) and Edwina (Charithra Chandran). And while Queen Charlotte (Golda Rosheuvel) may have awarded Edwina with the coveted title of "diamond of the season,” an ensuing love triangle between Anthony, Edwina, and Kate means Edwina’s path to true love is "not flawless, my dear.” But it is certainly juicy enough to get Lady Whistledown’s quill well and truly going…

I meet Chandran via Zoom from her West London apartment, where she excuses her roommate’s background chatter part way through our interview. He’s in the middle of a work meeting in the same living room—such is #WFH life. Like the original cast before her, Chandran has been plucked from relative obscurity in the acting world, and although she isn’t fazed by her life being on the cusp of changing since she has joined the cast of one of the most successful programs of all time (82 million homes watched the debut series within just 28 days of its release), she does still acknowledge that this is a pretty big deal.

The power of adding South Asian representation to Bridgerton—a show that challenged casting norms within costume dramas in its first season—is at the forefront of Chandran’s mind. "It has just done so much for TV and for actors of color and for representation. That should never be understated,” she says. "When I watched the episodes back, I cried because I just never, ever thought this would happen. It gives us hope that there is space for us in this industry, that roles that were never accessible now are, and it just would’ve never happened without a show like this.”

Along with the kind support of Bridgerton’s existing talent, who she now considers a family in their own right, the 7500-piece costume wardrobe also helped the 25-year-old rising star ease into the Regency world created by director Shonda Rhimes. "I genuinely think that my ritual for getting into character was the hair, makeup, and the costumes,” she says. "I remember I had my first hair, makeup, and costume fittings [all] on the same day, and as soon as I put on the first dress that they’d made for me, I was crying. I was like, ‘This is insane. Oh my God, I look like the girls from season one.’”

Chandran’s road to Bridgerton was not without a plot twist worthy of a show itself, though. "Oh my God, it is a very complicated story. At the time, it was filled with lots of dread, but obviously, it’s worth it now and may be worth it for the cool story,” she exhales, preparing to recount her lengthy audition process. "I first auditioned for the role of Kate back in November 2020 before the first season even came out [and] when the first trailer had literally just dropped. My agent was like, ‘I don’t know if you’ve seen this, but I have attached a trailer to this new show. Let me know what you think. They want you to audition.’ I saw it and was in love. I thought, ‘Oh my God, firstly, this is so fucking cool. Secondly, this is just going to be a megahit.’ So I auditioned in November, had a few auditions for it, and when the show came out, I binge-watched it in three days!” 

She continues, "A little bit later, they said, ‘We don’t think that you are right for this role. Aesthetically, it doesn’t really work.’ I was cool with it, and I got an offer for another job, which was Alex Rider on Amazon Prime. I thought, ‘One door closes, another opens. Guess it wasn’t meant to be.’ Then in mid-February, I was sitting in the makeup chair for Alex Rider, and my agent called me, and he goes, ‘Okay, so they’ve signed someone for Kate, and they’re now looking at you for Edwina. What do you think?’ I just didn’t want to audition for Edwina as a sort of consolation prize.” 

"I read the script, and the character was just so different from me, and [I] knew it would be a challenge performance-wise and really push me,” she adds. "I also thought, ‘This is really important because there are so many women, especially in South Asia where I’m from, that live Edwina’s life and grow up with the idea in their head that their duty is to be a wife, is to be a mother, and that forms their entire identity without, sometimes, the opportunity for exploration of more.’ I thought, ‘This is an opportunity to be a mouthpiece for millions of young women who don’t necessarily have the biggest voice of their own.’ And if I can show them that they can be so much more than what people expect of them, that’s great.”

So does the new series push inclusivity and representation even further? "For one thing, they are very explicitly immigrants,” Chandran replies. "The Sharmas come from India to England, and we have this multiracial society in London, but these people are different—not only because of the color of their skin but because they’ve grown up in a different environment, and they’re not in familiar surroundings. The same as with the first season, it’s done in a very subtle, subliminal way. It’s not very in-your-face, and that makes it easier to digest. The Sharma story line brings in the idea of just being an immigrant and what that means.”

It is an experience that isn’t far from Chandran’s own. Her parents immigrated from India to Scotland, where she was born, to complete their medical training. When her father moved back to India for a couple of years, Chandran lived with her mother in Hoylake near Liverpool, England, before going to boarding school at the age of 6 as her parents—then junior doctors working nights and rotating hospitals as part of their training—sought to give her some stability. "I was an only child, so to me, boarding school was like a constant sleepover,” Chandran explains. "I was so much younger than everyone else. I had to meet with the head and the matron and prove that cognitively I was able to manage—everyone else was 11, 12 years old.” This early independence speaks volumes about how confidently Chandran presents today. Though she confides, "I was so desperate to be popular, and everything about me—if it’s not obvious already—does not scream popular. I’m so nerdy and ridiculous. So imagine this typical academic theater kid trying to be a popular kid. It just did not work!”

During those typically tricky teenage years, the representation that Bridgerton brings would have helped Chandran the most, she admits: "I grew up in the Kate Moss era. I love Kate Moss, but [it was] very much the ‘nothing tastes as good as skinny feels’ world and the Victoria’s Secret Angels as the model du jour. I had no one that looked like me. I associated being me with not being beautiful, not being worthy of attention. I remember vividly Lupita Nyong'o as she was doing her award tour for Twelve Years a Slave in her red Ralph Lauren cape, her Prada blue gown, and I just thought, ‘Oh my God, this woman is an angel.’ It was only with that that I started seeing more and more representation, and I started loving myself. But it makes me really sad that, for about 16 years of my life, I didn’t, and I desperately wanted to change everything about me for that.” Beauty ideals and standards may have shifted, but irrespective of those fickle societal changes, Chandran has reached a level of self-assuredness that enables her to prioritize being "healthy [and] happy and feeling fulfilled in other parts of [her] life.”

I ask whether that long journey to self-love enabled her to find an appreciation for the beauty and dress traditions of her Indian heritage too. "A hundred percent,” Chandran responds instantly. "When I was younger when we’d go to weddings for my mum and dad’s colleagues or various functions and celebrations, my mum would always want me to dress up in traditional Indian clothing, and I’d be so upset and so embarrassed because I just didn’t want to be different. Then as I started to crave uniqueness and desired to feel special, I really started embracing my culture because I thought to myself, ‘What can I offer to this world that other people can’t?’ And one of those things, for me, is my heritage and my traditions, so now, I’m so proudly Indian, and I want people to know that.”

One poignant scene in the first episode shows Edwina’s sister Kate discussing Edwina’s suitors with Lady Danbury, the duke’s mentor from season one, saying that Edwina had to work "twice as hard.” Has that narrative been true in Chandran’s own life? "Parts of my life, for sure. Not that I felt that I had to work twice as hard, but I’ve certainly never had room to fail. I think [that] is more accurate in my personal experience,” she says. "That is someone who’s grown up, truthfully, with a lot of privilege. My parents are educated. I’m middle class, and I think that those things should be considered. Even with all the traditional privileges, I’ve never been allowed to fail. Maybe this is extreme, but I’m less likely to just get the benefit of the doubt. I have to be extra careful and conscious of what I do, how I behave, what I say, and over time, that can be tiring, for sure.”

Despite this, Chandran is not scared of taking risks in the face of possible failure. After graduating from Oxford University with a degree in philosophy and politics and with a job offer from BCG (one of the world’s three largest and most prestigious management-consultancy firms), Chandran decided to take the unpredictable path of acting. "I’ve always been performing since I was little,” she says. "I was a probably annoying kid who’d write plays, put them on and make people watch them. As I got to GCSEs and A levels, my parents were like, ‘Just focus on academics.’ Then luckily, Oxford is so good for drama. The university has produced so many amazing performers and writers, and I did more acting than I did my degree, and my love was reignited after a few years of it being dormant.”

"Then weirdly, COVID—which is a bit of a mindfuck, something that’s caused so much pain and suffering for other people—is kind of the best thing that’s happened to me, which is so fucked, and it’s really hard to rationalize that in your head. [Before the pandemic], because I enjoy performing so much, I asked BCG, ‘Can I take a year off before joining just so I can act and get it out of my system before I settle into this job?’ They said yes,” she says. "So for six months, I was doing short films, local theater, whatever I could just to get experience, having the time of my life. COVID then happened, my job start date got postponed, and I really thought about what I wanted from my life and realized that the last six months had been the best time, that I’d truly fallen in love with performing, and I couldn’t imagine a life without it.”

As I remark that pursuing one’s passion is an incredibly brave thing to do, Chandran says, "When you’re a child of immigrants, all you grow up hearing is, ‘We’ve got to survive. We’ve got to make it. We’ve got to just live and survive and get through.’ Seeing my parents do that, I realised that surely they did that and they worked their arses off so that I could thrive, not just survive, right?”

It’s this same attitude that sees Chandran not buckling under the immediate pressure to find another big job straight after a blockbuster show like Bridgerton. "If I’m being totally honest, which I don’t think many people are about this… For sure when I got the role, I was like, ‘Oh my God, I’m going to just wait by the phone, and people are going to want to call me. When am I getting that phone call with [Steven] Spielberg?’” she jokes. "And it’s the most ridiculous thing because obviously, that didn’t happen. I’ve been auditioning, and nothing has clicked so far, and it’s so funny because before Bridgerton I was auditioning, and as an actor, you don’t expect to get a role you auditioned for. You audition, and then you leave it behind. I’m in the process of reminding myself that I’ve got to keep working hard. I’ve got to keep hustling. I’ve got to keep improving in my trade because I can’t be entitled to anything. I can’t be expectant. I’ve got to keep proving myself.” Now those are the words of a true diamond. 

Season two of Bridgerton is now streaming on Netflix.

Photographer: Jacob McFadden 

Stylist: Holly White at The Wall Group 

Hairstylist: Patrick Wilson at The Wall Group

Makeup Artist: Kenneth Soh at The Wall Group 

Manicurist: Julia Babbage

Creative Director: Cassandra Lear

Producer: Samantha Obalim

Entertainment Director: Jess Baker

This post originally appeared on Who What Wear UK.

It’s back! After what seemed like the longest wait, Emily has finally returned to Paris and our screens for a second season. Landing on Netflix last Wednesday, we’re presuming you’ve already binged at least some of it— or perhaps you’re saving it for that cosy lull in between Christmas and New Year to really enjoy it (totally understandable— and don’t worry, there’s no spoilers here). 

Either way, we all know it’s not Gabriel you’re watching it for (okay, a little bit Gabriel)— but mostly it has to be the outfits. Emily's wardrobe may have divided opinion in the first season but whether you love her flamboyant style or loathe it, no one can deny the genius of the show’s costume consultant (and Sex and the City veteran) Patricia Field. 

From Emily’s bright and bold looks to Mindy’s outrageously fabulous ones and Camille’s monochromatic Parisian chic— we’ve rounded up some of the best outfits from the season below for you to fully appreciate. And in case you’ve been inspired to embrace the maximalist life, we’ve added links in so you can shop the looks too. This is escapism at its finest…

See and Shop the Best Emily in Paris Season 2 Looks:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP THE LOOK:

SHOP EMILY'S LOOK:

SHOP MINDY'S LOOK:

SHOP CAMILLE'S LOOK:

SHOP CAMILLE'S LOOK:

SHOP CAMILLE'S LOOK:

SHOP MINDY'S LOOK:

SHOP EMILY'S LOOK:

Opening Image: Getty

Up Next: Lily Collins Just Put the Coolest Spin On This Classic Parisian Outfit

When you think of a cowboy, what’s the first thing that comes to mind? Perfectly worn-in boots? A wide-brim hat? How about blue jeans? Our ideal image of what a cowboy is has been meticulously crafted over decades by everything from films to fashion, and as viewers, it seems we "know” what constitutes Western identity. But Netflix’s most recent film, The Harder They Fall, asks us to take another look. Directed by Jeymes Samuel and co-produced by Jay-Z, the film is set in the Gilded Age and follows the typical arc of a Western revenge film, except for one thing: it centers around Black people. This casting is not typical of Western cinema, much less the historical and cultural narratives around who cowboys traditionally were. 

Long before Beyoncé and Megan Thee Stallion channeled the Wild Wild West through clothing, Black cowboys actually did exist. It’s something that this film directly explores through its star-studded cast featuring Idris Elba, Regina King, and Zazie Beetz (just to name a few). But what makes this film even more unique is how seasoned costume designer Antoinette Messam saddled up a wealth of research and embedded it into every costume on screen. It’s no surprise that this film has surpassed Squid Games in viewership on the first weekend alone. Keep reading to hear Messam explain everything you need to know about the film. Fair warning: These costumes might just make you want to buy cowboy boots.

How did you get into costume design? 

I’ve been costume designing for over 30 years, but I didn’t train in costume design or come up in theater productions. Despite Toronto having a big theater industry, I began my career in fashion as a stylist. I was styling for music videos and stills, so it was a completely different medium than costume design. Back then, I started buying for a costume designer, who later became my mentor, Delphine White. She encouraged me to start costume design and recommended that I be a part of MTV’s first drama tv series. From there, I went on to establish my career in Toronto and across Canada. It wasn’t until multiple producers and directors encouraged me to come to Hollywood and my son became an adult that I took the leap and moved to Los Angeles. It was an incredible shift in my career to not just work on the projects that came to my hometown but to be able to choose projects based on the project itself.

You’ve worked as a costume designer for well over 30 years. What have you learned since then?

I've learned that being flexible is important. In the last two films I worked on, I’ve now had to navigate to COVID-19 protocols on set, which can be challenging. When one of your lead actors gets COVID and is taken out of filming for 10–14 days, that changes the film’s schedule drastically. So you have to be able to regroup and adjust accordingly, which is a skill I’ve learned. I also think, in general, I’ve learned that as a costume designer, you have to think outside of the box and keep thinking outside of it. It’s not necessarily about keeping up with trends, but being aware of what’s happening not only in my immediate world but my outside world.

What was it like to pivot from styling music videos to costume designing for films? Did your creative process change? 

You only get two minutes to make something fabulous in a music video. Whereas with long-format films you help tell the story through clothes and collaborate with the actors, the director, sometimes the studio, sometimes the network, sometimes producers, who all have a different vision for the look. As the costume designer, it’s my job to hear the voices, take in all the input, and help create something tangible and realistic. It was a learning curve at first, but I enjoyed it. I enjoy seeing the words on the page come to life. I still get excited when I see what I envisioned when I read the script come to life on-screen. Costume design is just like a child—you just watch it grow and grow up and materialize in front of you. And it's like, "That's my baby.”

How do you balance your vision for the costumes in a film with everyone else's vision?

Well, each project is different. In the initial stage of the film, you're sharing your ideas with the director through the interview process. For The Harder They Fall, I came with ideas to share with the director, Jeymes Samuel, and the co-producer, Jay Z. They accepted them and asked me to push the envelope further. So it’s always a bit of give and take to take the costumes to a whole new level. 

Why The Harder They Fall? What about this project interested you?

I love a challenge. At this stage of my life and my career, the fact that I'm still able to learn and do new things is always, first and foremost, what's most top of my list. And I've never done a Western before, so that was the draw to this film. Researching the costumes for it was like going back to school—it's a whole new world for me.

History has long been white-washed and often male-centric. Why do you think this film is important to see? 

I think this film is so timely and so necessary. You know, it's empowering to have this revelation through research and the film itself that these people existed—Black cowboys, Black towns. Blackness existed in a world steeped in anti-Blackness. These people were a significant force in the West and history—even if we weren’t taught that. And they had their own individual style. I bought so many books for researching this project: Victorian books, Gilded Age books, reconstruction books. And what was so enlightening about the research is that there are so many images of Black cowboys and Black people that show they weren’t the downtrodden people we’d assume they were. These people were proud. They were strong; they lived in their own towns that they built from the ground up. And I think that message is critical to show because we have not seen that in other Western films before this.

This story is set in Texas in a period where African Americans only gained their freedom in 1865. How did you want the costumes to reflect that specific moment in time? 

Well, it's interesting you say that because we all have a particular idea of what the Gilded Age is, but it was this point in time that was post-slavery and we saw a mass-migration from the South to the West. Not everybody went North, and some people went West in the hopes of capturing their land. And that’s what Jeymes wanted to show, is that these towns were created, and even if they were later burned down by white mobs or repossessed by the government to make room for railroad development, these Black towns and spaces existed.

What stands out the most about the costumes is how they so distinctly can tell viewers the social standing of each character. How did you research what a cowboy would wear versus a sheriff or a salon artist?

I don't think I've researched as much as I did on this film. The part that was so exciting was how many African American and African references could be found of people in that time. It’s not like I had to swap out the people’s faces underneath the clothes—they existed. And that was the most incredible part—to find an image of a wealthy merchant, or Queen Victoria’s great-granddaughter, and see them, and think, "Oh my God, they look fabulous.” To see a wealth of imagery and have all the costume’s mood boards be filled with Black people—not reimagine white people as Black people—was incredible. And you see that reflected in the costumes. I wanted to show the vastness of experiences through the outfits, so you have the townspeople of Redwood, which is Trudy’s (played by Regina King) town, which is more opulent; it’s like the Black Beverly Hills of these two cities. So you see a lot more characters wearing luscious satin fabrics, velvets, and vibrant hues. Versus in Douglas County, you see more organic fabrics, indigos, leathers, suedes, and patterns. 

It’s so intriguing that you could find so much reference imagery because typically, that’s not something we learn about growing up. What did you learn from working on this film? 

I'm Jamaican-Canadian, but even for me, it’s hard to admit that I didn’t know the entire history of this time period. I knew Black people existed, don’t get me wrong, but it was so interesting to find images of the gold rush. And it was so mind-opening to learn that California had some of the wealthiest Black communities in the United States at that time. Learning about Black history in that way and sharing that with this audience is so special.

This film has a star-studded cast (from Idris Elba to Lakeith Smith). What was it like to work with them to create costumes for their characters?

It was absolutely a collaboration. Jonathan Majors (playing Nat Love) was involved in all aspects of his character—including his costume. I shared references with him. He came in and we tried different samples and pieces until we sort of got what we felt was a good space and direction. I was fortunate to have had him early and to be able to workshop every aspect of the costumes—from working with the gun wrangler to ensure he felt comfortable to working with our hat builder to make the perfect cowboy hat. It was a testament to our team that by the end of the film, Majors liked his costume so much that he walked off the set in his entire getup. And even the other incredible talent, like Lakeith Smith. It was his first time wearing Western clothing on set. He’d never worn cowboy clothing before, but he fell in love with it.

The most surprising thing about this film is how much the leading actresses Regina King, Zazie Beetz, and Danielle Deadwyler take the center screen. When creating Themes, did you want to challenge our ideas of not only what a cowboy is, but also gender norms?

The genius of this film is that Jeymes Samuel and Boaz Yakin wrote their characters to be strong women. There’s a line within the movie from Trudy, played by Regina King, and she says, "Who do you think you’re talking to? I am this town.” So it was a given that these women were powerhouses, and it’s not a stretch—it was a fact. Before industrialization and during this film, it was customary for women to be equal to men in that regard. If someone’s husband owned a farm or had gone to war, they more than likely had to put male attire on to be able to ride and to work the fields and the farm. Or to do business, sometimes they’d hide their womanhood or femininity to, you know, pass as a man by dressing a specific way to be taken seriously and overt the male gaze. So that consciousness was very much embedded within the script, and it allowed me just to be able to reflect that reality through the clothing. I wanted to remember that their strength came from their characters, not their clothes, and to pair practicality with feminine touches. 

Do you feel like this period was more about dressing for utilitarianism or the freedom of expression outside of respectability politics? 

I think so. Jeymes calls this film "The New West” because if we looked at this town through a different lens this time, it might have existed if we knew about it. And if it did exist, we got to imagine how these people would dress. It’s not a stretch to say that at some point in time, a town like this—or Black people dressed in their finest gear—existed because it happened. I think the criticism around this film has been, "Well, it’s not history,” but in truth, it may not be your history, but that doesn’t mean it’s not history. There’s a wealth of imagery, information, and stories about the Black, Indigenous, Asian, and Latinx communities that exist, that you just haven’t learned about yet. And that’s what’s so poignant about this film. It shows that these people did exist, and these towns did too, but they were wiped off the map because of white backlash and land-stealing. Their stories, their history exists—it just hasn’t been told yet.

Since this was your first time working on a Western, what do you feel you've taken away from this film? 

Just so much. I'm so proud, and I’m so proud of Jeymes. We've been on this journey for a long time; we started working on this film in 2019. So to be celebrating the success of this movie, it's all come full circle. And it's like, you know, my baby’s now grown up, and I'm proud of what they've become. I think of fellow costume designer Ruth E. Carter behind Black Panther, and I can imagine how she felt when she shared the world she created and to see how people embraced her vision. And to see how people are embracing what we’ve done now in such a positive light, it’s heartwarming.

What do you hope people will take away from your work and the film? 

I hope people look at it with open arms instead of critiquing what they feel is not natural. Why not just enjoy it? The word I think encapsulates this film is "possibilities.” This town may have existed in this format. These people could have existed; there’s so much we don’t know. I mean, how many Americans just learned about Tulsa, Oklahoma’s Black Wall Street? So how do we not know Redwood didn’t exist? There are limitless possibilities—not only what could have been, but what stories and images we have yet to discover.

Feeling inspired? Shop some Western-inspired pieces:

Next: Ashley Moore Is Embracing Her Fears

For those who wear the badge of the oft-maligned millennial, the ’90s feel like modern American folklore. From the emergence of grunge and alt-rock in the Pacific Northwest to the proliferation of rap, hip-hop, and R&B from coast to coast, music—emitting from the radio, blasting out of boom boxes, and playing on personal Walkmans—provided a unique, new soundtrack for the era. Mixtapes included an array of genres as artists of every kind pushed the boundaries of popular culture. As a media scholar, I delight in dissecting how this decade still influences our content creation (and consumption) today. As an actress, musician, and fellow millennial, Alexandra Shipp also considers herself a fan, and perhaps an expert, of ’90s popular culture. She played R&B icon Aaliyah in a 2014 TV movie and had roles in Straight Out of Compton and the X-Men franchise. Fortunately, I got to spend an hour connecting with Shipp over a few of our favorite ’90s cultural touchstones, including musical theater genius Jonathan Larson.

Larson, who died the day before his groundbreaking musical Rent premiered on Broadway, helped to usher in a fresh sound and a new vision for what theater could look like as we neared the new millennium. It is his work—featuring a diverse cast and spanning genres—that continues to inspire today’s auteurs like Lin-Manuel Miranda. In fact, Miranda makes his directorial debut with Tick, Tick… Boom!, which is available November 19 on Netflix. Shipp stars as Susan, the girlfriend of Andrew Garfield’s Jon in the highly anticipated adaptation of Larson’s semi-autobiographical musical. The story follows the couple as they pursue their dreams—Jon as a musical theater writer and Susan as a modern dancer—in the gritty world of early 1990s New York City.

Given the dark undertones of the film, it was a relief that the sun was shining over both Brooklyn and Los Angeles as we both logged on to Zoom. Shipp, who lives with her brother and two dogs, was perfectly illuminated inside her apartment, her caramel-highlighted curls catching the light along with her megawatt smile. Casually clad in a vintage Betty Boop sweatshirt (more on that later), Shipp evoked the relaxed-yet-energized spirit of her character, which provided the jumping-off point for our conversation.

For those not yet familiar with Shipp’s work, I’ll put it simply: She’s a triple threat. Shipp can sing, act, and dance, but prior to this role, Shipp had no formal dance training. In fact, Shipp began a rigid training regimen months before setting foot on set. "I worked so hard to be able to play a modern ballerina because I’m not a dancer,” she shares. "I wasn’t asked to do any of this prep. I wanted to do it because I wanted to do it right. I wanted to be able to sell it.” By the time Shipp got to New York for filming, she was dancing about six hours a day in addition to doing daily two-hour workouts in order to achieve the physique of a dancer. 

It is this thoughtful immersion into her characters that makes Shipp’s performances truly next-level. "My favorite thing about acting is that I get to learn a lot of new skills,” she explains. For instance, with Storm from X-Men, it was fighting—everything from mixed martial arts and boxing to scrappy street-fighting techniques. With Tick, Tick… Boom!, Shipp learned not only how to be a dancer but also how to carry herself. "I had to become comfortable with my body in a more fluid and delicate, angelic way,” she explains. I can’t help but confess to Shipp that I was fooled. After watching the film, I was sure she had a dance background. Her performance is just that natural. Though, she effusively credits Melissa Schade and Ryan Heffington for their guidance and choreography for the film. 

In addition to developing the physicality required to play Susan, Shipp became a student of the history of modern dance, studying the work of choreographers such as Merce Cunningham, Katherine Dunham, and Alvin Ailey. "I was not familiar with modern dance in any way, shape, or form, so learning about the people who revolutionized dance in the ’80s and ’90s was really fun,” she recalls. "It was like a master class, and it was also like cramming for a test.” This moment in our cultural analysis brings us to Miranda. While Larson was a student of Stephen Sondheim, Miranda notably credits Larson’s Rent as being a major "aha!” moment. "Lin is great at showing off the physicality of theater,” Shipp divulges. "You can tell that everyone in the cast is acting from head to toe, and I think that makes this feel theatrical in a time where people have been missing theater.”

Since she is a multi-hyphenate, Shipp unsurprisingly has always been a fan of musicals. However, she is the only actor in Tick, Tick… Boom! who has yet to appear on a Broadway stage. While this was certainly motivation for her self-imposed dance immersion, Shipp was particularly nervous about performing her song, a duet with Vanessa Hudgens, that comes in the middle of the film. Although the majority of the show features contemporary rock (and the most incredible classic Broadway ballad), Shipp’s song is undoubtedly influenced by ’90s R&B, which she attributes to Miranda, and evokes major Aaliyah vibes. It’s also a scene in which Shipp felt encouraged to bring elements of her personal experience to the character. "It was exciting for me to be occupying a space that was originally written for a white woman because it challenged me to come to a scene or song with my own energy based on my own ancestry,” she explains.

Shipp approaches all of her roles with this point of view and the intention of pushing the boundaries of what is possible. In fact, during our conversation, she was in the midst of packing for an extended stay in Ghana for her next project, where she’ll play a laparoscopic surgeon who is reconstructing the bodies of victims of female genital mutilation in the Congo. As she is an activist, it is important to Shipp that she uses her art to create positive change. "A lot of people think that Hollywood is very superficial,” she acknowledges. "But with TV and film, we have a certain number of minutes in someone’s life to change their perspective. The Greeks did that when they first invented theater in order to educate people who couldn’t read. We can educate people. We can raise that societal bar.” Shipp views theater as a form of activism but also uses Instagram to bring visibility to causes she’s passionate about and engage in meaningful conversations with her fans. "I want to be able to change people’s minds and provide a different perspective, and I try to do that in every aspect of my public and private life,” she says.

Like her millennial peers, it has taken Shipp lots of trial and error to determine what is worth sharing on social media. "I’m a very private person, but I am also of this generation where I want to be part of the conversation,” she acknowledges. Her personal social media strategy shifted following the resurgence of the civil rights conversation in the summer of 2020, which prompted her to delete everything on her Instagram and start from scratch. Since then, Shipp has been using her platform with intention and purpose, sharing moments of joy and promoting awareness but also providing a glimpse into her everyday life. She says, "I love going to museums and posting about art on my Stories; it’s my way of spreading inspiration because some posts can be dark.”

Shortly before turning 30 last summer, Shipp publicly came out as gay in a candid Instagram post. "People knew what I was and who I was dating, but the world didn’t know—and it wasn’t anybody’s fucking business,” she emotes. "If I had come out 10 years ago, my career would have been different.” She goes on to explain that typecasting is still prevalent in her industry. "You can’t just be the Black best friend who’s sassy and funny. You’re not just the queer kid who’s flamboyant,” she says. "There’s a world in which these characters are given the forefront of as storyline or a concept outside of a stereotype, and there’s space for a woman of color to be successful and be gay.” 

It is this dream that not only drives Shipp but also propels the narrative of Susan. Shipp thinks of Tick, Tick… Boom! as a coming-of-age story where each character is racing against an internal clock and wondering whether it’s time to quit or if success is just moments away. "Susan never quit. She’s a real person, and she never stopped dancing. She saw Rent and was there for Tick, Tick… Boom! She never stopped doing what she loved, and that resonated with me. For any artist, if you want to be the most supreme version of yourself, you just don’t stop. I did all of the side jobs that I possibly could in order to be able to pay for gas to get to that audition so that I could achieve my dream. Eternal vigilance is the price of supremacy,” she declares, reiterating the Mark Twain quote that’s in her Instagram bio.

As early Oscar buzz abounds, there’s little doubt that success is in the cards for Shipp and her Tick, Tick… Boom! castmates. "Even though I’m an actor and performer, it’s really hard for me to be the center of attention for even a split second,” she confesses. "I can look a little uncomfortable on a red carpet. I never know what to do with my hands. Lift up your chin, don’t have your shoulders too high…” That, plus transitioning from her work in Ghana to Hollywood, will be a bit of a culture shock. However, Shipp is already meditating and processing, preparing herself to be present and enjoy this moment in her career. "I’m telling myself that my fears are only real if I let them be. I am a woman. I am strong. I know that I am resilient, and I am the gatekeeper of my life’s work,” she proclaims. 

Upon her return from Ghana, Shipp will work with her stylist, Alexandra Mandelkorn, to compile looks for the bevy of press junkets and red carpets that await. Currently, they’re collaborating on vision boards that include images of Jerry Hall, vintage YSL and Valentino, and plenty of ’90s supermodels, but their main goal is for Shipp to look and feel comfortable in the spotlight. Given that inspiration, it comes as no surprise that Shipp is a savvy and enthusiastic vintage shopper, a hobby she and Mandelkorn share. "We both love to thrift and will spend money on a good piece, but I also love finding a deal,” she gushes. "Some of my favorite thrift stores are in the middle of nowhere. There’s one in Oklahoma that I will not give up… I travel for vintage. Let’s just put it that way. I’ll go rack by rack, hanger by hanger finding really fun pieces like this sweatshirt.” 

Ah, we finally return to that well-worn Betty Boop sweatshirt. For those unfamiliar with the 1930s cartoon character, Betty Boop is another triple threat (albeit in just two dimensions) who made a lasting impact on Hollywood as one of the best-known sex symbols of the animated world. "I love Betty Boop. I’m obsessed with her,” Shipp excitedly admits. Ever the student, Shipp is bringing a book about Helen Kane, the ’20s singer and actress who inspired Betty Boop’s lighthearted flapper persona, on her travels. 

After we part ways, I consider the cultural ground we’ve covered—from Greek plays to 21st century Hollywood, Great Depression–era cartoons to modern dance, and Mark Twain to ’90s music. It’s impossible to place Alexandra Shipp inside a singular box. As she is an artist who’s constantly pushing herself to learn, evolve, and excel, that boom just might be the sound of a dream—and years of hard work—finally coming to fruition.

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Hannah Ware, the star of the Netflix hit series The One, has mastered the art of color-coding her closet. 

During the pandemic, Ware moved into a house that was designed in the 1950s, meaning the proportions of each room are smaller. "I don't have the luxury of a large wardrobe, but I disperse my clothes throughout the house," she explains.

While that might seem like a pain to some, Ware uses the space to her advantage: "I can be psychotically organized about everything, and I do color-code."

Ware isn't kidding when she says she has color-coded her entire wardrobe. Across four rooms, her closet is organized in a way that just makes sense.

In the first room that Ware walks us through, she shows us her blues and everyday shoe collection, which includes more than one pair of sneakers. "I love Converse, I love Spring Court, and I like Vans," she gushes. 

Ware's everyday shoe collection wouldn't be complete without a couple of pairs of Birkenstocks—including Prada's take on the style that adds a bit more glamour—and Chanel espadrilles that Ware purchased on The RealReal.

Ware also loves bright colors, such as a red suit from Racil that she kept after wearing it to a premiere. "I tend to keep things that I really fall in love with that I wear to events or on set," she reflects.

Oh, and she has a truly incredible green velvet suit because everyone needs a velvet suit in their lives. 

Silk dresses are also a staple in Ware's wardrobe. Datura's silk dresses are a familiar face in her closet, including a long-sleeve red one that's perfect for the holiday season. "It's long sleeve and great and loose and comfortable. I'm very into comfort," she notes.

Beyond bold two-piece suits and luxurious silk dresses, Ware loves a good staple. From an oversize sweater that she owns in multiple colors to a good vintage tee, the majority of Ware's wardrobe is made up of wearable, everyday pieces that'll last a lifetime.

Ware also likes to hold on to items that have sentimental value. She wears her mother's engagement ring every day and even has a silver dress that she's owned since she was 14 years old.

See more of Ware's dreamy, color-coded wardrobe below!

Ready to color-code your wardrobe and add in a few new pieces? Shop Ware's closet below!

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For those of us who came of age in the early 2000s, there will always be a few iconic It girls. From Paris Hilton and Nicole Richie to Jessica Alba and Angelina Jolie, the A-listers of this era were often spotted in tabloids, captured leaving clubs late at night, and dared to wear the lowest of low-rise jeans on red carpets. Of course, this was the pre-digital era; there was some semblance of privacy still to be found. Today’s It girls have evolved to be always on, strategically sharing glimpses of a carefully curated life on social media, working with stylists to hone a red carpet aesthetic, and plotting their career paths with longevity in mind. Like the It girls before her, 19-year-old Chiara Aurelia is blazing her own trail and is doing so with a uniquely Gen Z point of view.

We caught up with Aurelia at the tail end of summer, syncing up via Zoom days before she wrapped her latest project, Luckiest Girl Alive. Against an austere hotel room background, Aurelia somehow manages to look radiant, illuminated by the natural light. It may come as some surprise that the actress looks nothing like her character Jeanette Turner from Hulu hit Cruel Summer, the role that catapulted her into the spotlight. With her hair swept back in a bouncy ponytail and wearing a silk newsprint Dior blouse she scored on The RealReal, Aurelia is every bit the modern-day ingenue—a vision her ’90s teen character could never have conjured.

Incidentally, Aurelia has become the queen of surprises, drawing attention not only for her work in Cruel Summer (the 10-episode first season ended in July and was immediately renewed for a second) but also for her role in Fear Street Part Two: 1978, which premiered a week earlier. Fortunately, she’s a fan of suspense, or at least, she knows how to play the role of a good sport. "I love surprises,” she gushes. "I mean, when it comes to personal life, not as much, but being able to be on the edge of your seat when you’re invested in a story or a movie that you’re watching or a script that you’re reading, that’s super fun.” There’s an important difference, however, between the thriller and horror genres (she would know; she’s already done both), with one feeling more timeless and the other best consumed around Halloween. "All of the gore, murders, and chaos [of horror] can be super fun to work on, but they’re a little bit more terrifying for me to watch,” she confesses.

Fortunately, Luckiest Girl Alive is poised to be another thrilling sensation. Jessica Knoll, the author of the best-selling 2015 mystery novel who Aurelia describes as a "close friend and a genius,” adapted the story for the big screen and put together an incredible cast (including Mila Kunis and Connie Britton) to bring it to life. Although Aurelia’s role has yet to be confirmed by Netflix, Knoll sang her praises in a late-summer Instagram post. "[Aurelia] blew us all away,” reads a caption of a photo of the two hugging below the neon sign of Fanelli Cafe in SoHo. "She captured her spunk, her wit, and her devastation. Oh god, I can’t wait for you to see what I’ve seen.” Hint: If you haven’t already read the book, here’s your chance. Then, feel free to wager which character Knoll is referring to—Aurelia’s lips remained sealed.

Based on her recent successes, Aurelia’s predilection for stories of a darker nature seems like a smart path to pursue. But it would be remiss to pigeonhole this young actress into the thriller genre or any genre for that matter. In fact, her dream role is an unexpectedly classic choice: Dorothy Gale from The Wizard of Oz, a childhood favorite. "The Wizard of Oz was a huge touchstone for me when I was younger,” Aurelia explains. "It captured all of the things that I loved about the film industry. Plus the singing and dancing and incredible acting, it was so advanced for its time.” In fact, Aurelia and her friends still enjoy watching the 1939 movie together, despite the endless options available via today’s streaming services.

Like Judy Garland, the original Dorothy, Aurelia’s look is timeless. As an actress, she has already played teenagers in the ’70s and ’90s and will presumably take on the role of a present-day 20-something in Luckiest Girl Alive. As an individual, Aurelia is also a chameleon whose personal style is equally at home in the vintage ’90s Steve Madden boots she kept from Cruel Summer and her present-day styling of that early ’00s Dior blouse. "I’m into some of the ’90s fashion trends… the mom jeans, low-rise pants, butterfly clips, and platform shoes. Honestly, there’s so much to love,” she reflects. 

A card-carrying member of Gen Z, Aurelia is embracing the high-low aesthetic as she figures out what feels right for this moment in her career, scoring gems on The RealReal and getting inspiration from a variety of stylists. "I’m still finding out who I am in terms of the way that I want to look and how I want to portray myself, but I’m having a lot of fun mixing and matching high-fashion brands with vintage clothing and consignment stores,” she shares.

Before we wrap up, we ask Aurelia what’s up next after a busy and extremely successful summer. "As long as I’m working with such incredibly talented people, I look forward to discovering my next projects and exploring further as time unfolds. I’m very lucky to be walking on this path,” acknowledges the burgeoning It girl, paving her own yellow brick road of sorts.

We already know that Chiara Aurelia is uniquely talented, but only time will tell if she’s actually the luckiest girl alive. We can’t wait to find out!

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There's nothing I love more than cozying up and watching a good ol' romance film. Whether the plot is a fan-loved enemies-to-lovers scenario or a story of secret love, there's something so thrilling about watching a relationship unravel. In this case, it's the latter and also happens to be a period drama set in both the '60s and modern times. In The Last Letter From Your Lover, the story follows journalist Ellie Haworth (Felicity Jones), who comes across letters sent from a handsome reporter to upper-class wife Jennifer Stirling (Shailene Woodley), who's in an unhappy marriage. While the hidden romance that brews between the two keeps you on the edge of your seat, it's the fashion that heavily caught my eye.

The '60s were a pivotal time in fashion, and that shines thoroughly throughout the film. Think coordinating ensembles, pillbox hats, and gloves galore. In an effort to hear the story of how the costumes were chosen, I reached out to the costume designer herself, Anna Robbins. Having two Emmy nominees and the costume design role for Downton Abbey under her belt, Robbins is no beginner when it comes to picking out clothes that tell a story of a different time. Below, you can get a peek into the genius mind of Robbins and learn how she told the story of forbidden love with costumes.

For those who aren't familiar with your work, can you tell us a little bit about yourself and your career?

I am a Scottish costume designer based in London. I've been designing for about 16 years now. I studied costume design at Edinburgh College of Art. I ended up in the world of film and television, working predominantly in the U.K. I work in contemporary and period dramas within film and television. 

Costumes for period pieces are obviously more difficult than those of the modern day. Having experience in the genre, especially with Downton Abbey, how do you approach planning and sourcing attire to resemble a different decade?

When you're designing for a new era, your research starts from scratch. There's a process of general research into the decade and then the fashions and dress code of that period before you get into the character research, where you're getting deeper into the story and the script requirements. For Downton Abbey, it was nice that it's a repeating series because you have a shorthand, but with this film, it was a new decade for me, which was a lovely challenge and quite refreshing to explore a new world and time period.

What specifically about this project inspired you to take it on?

As soon as I read the script, I was totally captivated by it. I love the romance and the two female characters in both time periods. I love the way Ellie and Jennifer were written and the contrast between the two. Jennifer is slightly trapped in a marriage and the world she exists in. Ellie is freer and deals with the modern issues that a young, successful professional still has. They complemented each other. The other draw was that I was able to work with both worlds of modern and period. I loved that it was 1965 and it was a look at the '60s that still had very much '50s influence, and the typical '60s look you see on magazines with loud prints didn't emerge yet.

Did you have any style icons or specific sources of inspiration you kept in mind while styling Shailene Woodley's character, Jennifer?

I looked a lot at fashion designers from the time and their illustrations, whether that be on catwalks or editorial. There are definitely the vibes of Jackie Onassis and Audrey Hepburn. The pillbox was definitely inspired by Jackie O., and there are a couple of films that I reference. There's a film that Chanel costume designed for called Last Year in Marienbad, which was filmed in 1960. I loved the way Chanel used texture and silhouette in the construction of the costumes, so there were definitely pieces in there that I was inspired by. 

We looked at a lot of Dior, Balenciaga, Lanvin, and Courreges. I ended up shopping a lot for vintage couture and was lucky to incorporate that into Jennifer's wardrobe.

How did you incorporate Jennnifer's personality into the "structured society wife" costumes?

She was a wife first and foremost within that society, so she is always immaculately dressed and very coordinated. There was a part of her that wanted to break free, so it was about finding those moments where she wanted to do that. When she was in the Riviera, she was really happy, so for that short period of time, it was about using color and carefree shapes. We used cutaway bits of the dress that showed a little bit of skin and were playful. The colors in the Riviera were more light and bright. I used a more stripped-back palette for her. I took away prints and patterns and did a lot of color-blocking. We saw a lot of pinks, blues, and yellows. The pinks were quite bubblegum pink, and the yellow was sunshine yellow… When we were in London and her story arch is less upbeat, there were more dark greens, aubergines, and a lot of blacks or whites. It's always interesting to use color in clothing to enhance the mood of the scenes. It definitely helped bring out more of her personality in times we wanted it to shine.

Did you pull a mix of vintage and current designers? What is your favorite part about playing with vintage designers vs. current collections?

While I do love many modern-day designs, I love the construction of period pieces, even back in the '60s. There's just clever construction that is fairly timeless. I always find pieces you can quite honestly wear today. There was an elegance to them. The quality and fabric are really great. We do a lot of bespoke work to complete the wardrobe alongside the vintage couture, and finding the fabrics in the modern day that look and behave the way vintage fabrics do, it's quite challenging. I also think it's in the accessories. We used a lot of vintage gloves, bags, jewelry, and shoes where we could find them. That gives real authenticity to her look and ties it all together.

How did you connect the feel of the '60s to the modern-day character, Ellie?

I didn't want the 1960s section to seem typical, so we removed prints and patterns from there. We used more textures and embellishments. In the contemporary part of the film, we used more prints, like little florals on Rory's character. For Ellie, there was a slight '60s vibe to some of her looks. She wore these lovely little vintage shoes that sat better in her wardrobe than with Jennifer. So there were little nods. I wanted to have fabrics and colors that linked the two of them. I liked the idea of creating a thread between both worlds, making it feel more connected and like one film rather than two stories being told alongside each other.

What would you say are the main differences between fashion in the '60s and fashion now? Do you think there are any similarities?

Coming back to accessories again, I feel like in the '60s there was a way of putting together an outfit that felt more complete. There was often a bag, a pair of gloves, and a hat that went with the outfit. A lot of people that watch something period say they wish they still wore gloves and hats. There's more layering in contemporary clothing; in period times, it's more about shapes and individual pieces.

I also think in the contemporary world there aren't huge, sweeping trends that pick everyone up and carry them. There's room to pick from trends depending on whatever you're into. Back then, there were a singular set of trends that everyone subscribed to, and now, there's more room to form your identity and have more personal choice with style. In some ways, that's wonderful, and in some ways, you can lose having a specific vibe.

Do you have a specific look that is a personal favorite you'd like to talk about?

My favorite costume was the pink chiffon evening gown Jennifer wears in the Riviera at the dinner party. I had a clear idea in my mind of the pink with bluish tones to it and how that would be offset by the inky, dark night of the Mediterranean and the color and lighting of the villa. To me, that was a really successful and beautiful look. Equally, I loved the dusty-pink cashmere I made with a matching pillbox for the scene where she bumps into Anthony again. 

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Ten minutes into Halston, Netflix's latest must-watch series, I knew I was going to love it. The '70s fashion! The New York backdrop! Ewan McGregor in a patent trench coat! I was long overdue an escapist TV fashion moment (The Queen's Gambit feels like a long time ago), and this well and truly satisfied that craving. Set in New York in the 1970s and '80s, the series centres around the life and era-defining work of fashion designer Roy Halston Frowick, aka Halston, who is played by Ewan McGregor, and his struggle to steer his eponymous fashion empire. 

The real Halston with friend Liza Minnelli

Costume designer Jeriana San Juan has done an incredible job at capturing the high-octane glamour and sensuality that is at the heart of not only Halston's designs but also the decade itself. As a '70s fashion fan, I found it to be a real visual treat. From the sequin-clad costumes of Halston's close friend Liza Minnelli and the nonchalant tailoring of model Elsa Peretti to the liquid silk of the brand's runway gowns and the aviator-sunglasses-and-patent-coat cool of Halston himself. It's honestly the chicest thing on TV right now. 

A snapshot from one of Halston's original runway shows, February 1978

I'm only halfway through the series, but I can safely say that this is a must-watch show for any fashion fan. And yes, I've already spent an evening furiously searching for vintage Halston dresses. So to whet your appetite and give you a little preview of the fabulous style that dominates the series, I've put together a few of my favourite ensembles. Scroll down to see more. (Don't worry: no spoilers.) Enjoy!

See some of our favourite looks from the season:

With their wide-leg trousers and even bigger sunnies, Halston's entourage is just too cool for words. 

A snapshot of Liza Minnelli, played by Krysta Rodriguez, performing at one of Halston's fashion shows. 

Elsa Peretti, played by Rebecca Dayan, was a model and muse to Halston and has one of the best wardrobes of the series. 

Okay, I literally want this outfit in my size. Thanks.

Ultrasuede was one of Halston's biggest fabric innovations and was a huge success with the New York fashion crowd. 

Halston broke with the graphic 1960s aesthetic with his flowing, tie dye gowns. 

Classic yet pulled-together. Another suitably chic look from the designer. 

Elsa Peretti modelling one of the designer's earliest dress designs for potential investors. 

Another dramatic tie-dye look, which could happily be worn in 2021. 

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Halston Limited, Halston Luggage, Halston Perfume—the 1970s were all about Halston, the eponymous line, numerous licensing deals, and, of course, the visionary designer himself. Studio 54 was the place to be, and cocaine was the thing to do as Halston, a milliner whose career took off thanks to the pillbox hat Jacqueline Kennedy wore to JFK’s inauguration, pivoted to embrace the modern woman with both ready-to-wear and made-to-order fashion collections. 

Akin to Dior’s New Look of the 1940s, Halston embraced a streamlined silhouette with an emphasis on draping, luxury fabrics, and color that set the tone for sensual ’70s style. His rise and fall, particularly his tumultuous personal and professional relationships, are chronicled in the highly anticipated miniseries Halston, which debuts on Netflix today. Produced by Ryan Murphy of American Horror Story and Hollywood renown, this five-episode miniseries has the intense character development, biting dialogue, beautiful scenery, and, of course, gorgeous costumes that one has come to expect from the producer. However, much like the man himself, Ewan McGregor’s Halston triumphs due in large part to support from a powerful cast of characters portrayed by several famous faces.

Rebecca Dayan is one such face—the multitalented artist who embodies the role of the iconic jewelry designer and Halston muse Elsa Peretti. While the physical resemblance between Dayan and Peretti is uncanny—both raven-haired beauties began their careers as models—it is their shared creative spirit that brings the character to life. Although Dayan hails from the South of France, her Italian accent rings true to Peretti’s Florentine roots. Rants and raves are particularly memorable due in part to the "donna forte” artist that Dayan channels. 

Notably, Peretti outlived many of her contemporaries by 30 years, passing away just a few weeks ago at 80 years old. Given the timeliness of this series, we were eager to catch up with Dayan and learn more about Peretti’s role in the Halston era, as well as her legacy as one of the most esteemed jewelry designers of her time. 

Although we’re discussing Halston’s glamorous heyday of the 1970s and ’80s, Zooming with Dayan in 2021 looks decidedly different than the luxe sets of Netflix’s latest fashion-focused series. Sitting on the couch in her apartment in NYC, Dayan greets me over the screen with a shy smile and a certain je ne sais quoi—exuding that elusive, seemingly effortless French style in a gray V-neck cashmere sweater, minimalist jewelry, and comfortable trousers.

I’m quick to ask for any French-girl fashion or beauty tips, but Dayan is even quicker to wave me off. "French-girl style is just a myth, you know? But it has sold a lot of lipstick,” she quips. 

Before diving into her role as Peretti, I ask the multifaceted artist (in addition to modeling, Dayan has studied fine art and design and is also a producer) what first attracted her to the world of film. "I remember watching the movie After Hours with my mom. I’ve seen it so many times now, but that is what inspired me to explore the creativity of movie-making.”

The 1985 black comedy by Martin Scorsese features a gritty New York City that stands in stark contrast to the world in which Dayan has been immersed since filming for Halston began in 2019, but then again, NYC has always been a home for artists. 

Dayan and Peretti were both drawn to the city in their 20s, but interestingly, it was challenging for Dayan to find primary source materials about Peretti’s life until after her 50s. "Initially, I didn’t know a lot about Elsa, but I was inspired by her as a creative, powerful, independent woman,” Dayan remarks. "There were tons of information, including video and interviews about Halston, Victor Hugo, and other artists from that era, but not a lot about Elsa,” she recalls. "I had to imagine what she would have been like in her 20s, how she would have moved, and danced.”

It is this appreciation for movement that linked Peretti and Halston, particularly in their design sensibilities. Whereas Halston’s understanding of fabric, color, and texture set the tone for women’s fashion of the decade, Peretti embraced forms found in nature, as seen in her iconic bone cuff for Tiffany & Co. as well as the curved fragrance bottle she designed for Halston’s first perfume.

Interestingly, both Halston’s and Peretti’s design aesthetics could easily be worn today. "I loved all of the dresses,” says Dayan. "But especially the cashmere cardigan and dress that Elsa wears at the airport. I would wear that right now.” We also gush over the bone cuff, which Tiffany’s still sells. "It just feels special,” she says. "It’s not just how it looks but how it feels on the body.” Peretti’s designs are truly timeless—there’s a blink-and-you’ll-miss-it moment where Dayan wears an original Elsa Peretti for Tiffany’s mesh bra under a red suit—and still totally wearable in the 21st century.

However, amid the glitz and glamor of the disco era, the burgeoning AIDS crisis infiltrated the scene, decimating the creative community in which Peretti thrived. "It was a very dark time where people would be out at a party, at Studio 54, and then people just stopped showing up. They contracted the virus and died,” Dayan explains. Halston himself was diagnosed in the late ’80s and succumbed to the disease in 1990.

At the end of the series, a title card appears and notes that Halston’s closest friends, Peretti and Liza Minnelli, reunited to hold an event to celebrate the designer’s life. Given Peretti’s recent passing, I ask Dayan how she thinks the icon would like to be remembered by her friends and fans. "It’s hard to say, but I think Elsa would like to be remembered first and foremost as an artist,” she muses. "Hopefully, Tiffany will reissue some of her pieces since they are timeless and classic.”

As for Dayan, I ask what’s next on her agenda as we prepare to enter a post-COVID world. "I’m just excited to get back out there and continue to work,” she says. Ever the artist, she’s already writing a feature film and looking to find distribution for Born Free, a documentary about the maternal health crisis in America that she helped to produce as the first project funded by her nonprofit organization, The Mother Lovers. From model muse to iconic artist, Dayan, much like Peretti, has clearly found her medium. 

All five episodes of Halston will be available on Netflix beginning May 14. 

TEAM:

Photographer: Kat Irlin 

Stylist: Shibon Kennedy

Hair: Blake Erik

Makeup: Cyndle Komarovski

FASHION CREDITS:

Dress: Miu Miu

Earrings: Love Adorned

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In my opinion, 2020 had exactly one saving grace: Bridgerton. The elaborately costumed, seductive period piece was just the thing to snap us out of our year-end funk when it was released in December. It was especially exciting here at Who What Wear, as we were lucky enough to do an exclusive interview and photoshoot with the star that had everyone talking: Regé-Jean Page, a.k.a the Duke of Hastings.

Sadly, however, Netflix just announced that Page will not resurrect his steamy character for Bridgerton season 2. Why? Because the next installment will follow the plot of the second book in the series, The Viscount Who Loved Me, which is centered around Daphne's brother, Lord Anthony Bridgerton, and his search for a wife. 

You can count on the entire Bridgerton family returning in season 2, including Daphne, Anthony, Benedict, Colin, Eloise, and Francesca, as well as the all-important Lady Whistledown. The Bridgerton matriarch will also return, and based on the book, we expect the story to offer more insight into the death of the Bridgertons' father and its impact on Anthony. Plus, we will be introduced to two new characters, who have yet to be cast: sisters Kate and Edwina Sheffield. 

"We’ll miss Simon’s presence onscreen, but he will always be a part of the Bridgerton family,” the show said in a statement. "Daphne will remain a devoted wife and sister, helping her brother navigate the upcoming social season and what it has to offer— more intrigue and romance than my readers may be able to bear.” According to Page's new interview with Variety, we can take comfort in the fact that the actor knew his character's storyline would wrap up in season one. 

While we eagerly await season 2, scroll down to revisit some of the best Bridgerton costumes.

Next, if Daphne Bridgerton went shopping in 2021, here's everything she would buy. 

If the idea of staring into the abyss of your closet doesn’t evoke a profound emotional response, perhaps that’s because it’s too daunting. Take out just one item—a vintage band tee, a special-occasion dress, or even a pair of everyday shoes—and prepare to look at it in a new light with a little help from Netflix’s new documentary series Worn Stories.

Based on the book of the same name by Emily Spivack, an artist, writer, editor, and curator, Worn Stories asks several people—only a few of which will be recognizable to the fashion set—to share the stories behind their favorite piece of clothing. The premise is simple, right? But over the course of eight episodes, I experienced a wide range of emotions. Yes, you’ll laugh, you’ll cry—honestly, you’ll probably cry more than once—and you'll certainly conclude the series with a newfound sense of curiosity about not only other people’s fashion choices but also your own wardrobe.

With so many great real-life characters to choose from, it’s difficult to narrow down a favorite interview or even episode. But I found the worn stories that stuck with me most were those I least expected: Rudy, who purchases his first new shirt after 41 years in prison; Spirit, a nonbinary teenager preparing for their B'nai Mitzvah; Diane and Paul, a nudist couple; and Shoham, whose pursuit of a misplaced Rachel Comey coat reminds us that it's the journey, not the destination.

Produced by Jenji Kohan of Weeds and Orange Is the New Black fame, Worn Stories offers her signature glimpse behind the curtain, finding beauty in the stories of people often overlooked by society. Broken into several distinct themes, each episode is loosely connected by threads—or occasionally, treads—thereby affirming the role fashion plays in how we express ourselves, experience the world, and harness our own main-character energy in moments big and small.

Below, we caught up with Spivack to talk about the latest interpretation of her Worn Stories project, including her favorite interviews as well as what the future holds for fashion lovers in the post-pandemic era.

What inspired the original Worn Stories project, and how has it evolved from its inception to the Netflix series? 

I can take you back to 2007 when I was on eBay, and I was, at that point, into vintage high heels. I was looking for some vintage high heels, and I found this Playboy bunny costume that had the puffball tail, the stockings, the headband, the heels, the whole thing. The outfit and the heels were not for me, but what accompanied them was an ID card of the woman who had been a Playboy bunny and had worn it. There was something at the moment that really clicked for me—this connection between who she was and the clothes that she was wearing. There was a mystery there for me, and I wanted to know more. 

[A few years later,] I did a project called "Sentimental Value," where I was collecting stories I was finding on eBay. When people were selling clothes, they would post about what they did when they were wearing them and why they were getting rid of them. I was noticing this connection on a platform that isn’t meant for storytelling, so I started looking in my own closet and writing some of my own stories to see how that felt and what it felt like to make those kinds of memories a little bit more concrete.

I realized pretty quickly that I was far more interested in other people’s stories than I was in my own, so I started asking friends and family. I loved the stories that they were sharing with me. These were people I had known my whole life, and they were sharing things I had never before heard them tell me, stories I was completely blown away by. I realized at that moment that clothing was this overlooked storytelling device and that it was this access point. We all wear clothing, so it was this universal storytelling device.

As I was gathering those stories, I had an immediate sense that I wanted it to become a book. To hold myself accountable as an artist, I made a website and started posting stories on the site. Worn Stories was published in 2014, and Worn in New York came out in 2017.

What I love about the books is that there’s sort of a mystery. You see the garment, you read the text, and you imagine who the person is who is sharing the story. But there were moments where I wanted more for the reader. I liked that mystery, but I wanted to see the garment and hear the person telling the story. That’s why I wanted to turn it into a TV show—I think that there’s more to share.

Is there a particular piece from your own closet that tells your story?

I share a couple of stories in both books. In Worn in New York there's a story about a ripped pair of stockings, sort of a wardrobe-malfunction story. In the first book, there’s a story about flip-flops that I’ve had for a million years that remind me of my grandmother and going to the beach with her.

There’s a sweatshirt that I have been wearing lately. It’s a gray, completely non-descript Russel sweatshirt that I think I've had since seventh grade. I used to have sweatpants that went with it, and I remember going to the ice skating rink and taking classes wearing this sweatsuit outfit. I still wear the sweatshirt. Actually, it’s funny because you’d expect it to have gotten holey and raggedy, but it’s in great shape. It was meant to be a knock-around thing, and now it’s still just this basic gray sweatshirt, but I take care of it in a different way because I know that I’ve had it so long and it reminds me of my childhood and growing up.

I also like the inside joke that I’m having. In pre-Covid times, I would go out and wear it with blue leather pants and high heels or something. And no one would know that it was a sweatshirt I've had since I was 12 years old. It must have been huge on me when I was little, and now it kind of has this perfect shape and fits me just so—it’s grown up with me as I’ve grown up.

After a year in quarantine, what are you looking forward to wearing out and about? 

I’ve had conversations with my friends about the big blowout parties that we want to have after this is all behind us. I have been dreaming of getting a tailored tuxedo made. I want this beautiful material, perfectly fit tuxedo that just feels like it was made for me and I can wear it to celebrations.

It is my hope with Worn Stories in general, and I think that this may be the case post-pandemic, where we look in our closets and remember when we last wore this and why we want to wear it now. This has been a moment to reprioritize and look at things a little bit differently, so I think we’ll do that with our clothing and our closets. 

But I still think that we’ll get dressed up. Once people feel safe, I think people will want to be together and celebrate, and I’ve got that tux in my head. 

What about Ashley Biden's inauguration tuxedo as inspiration? That was a great look, but that's the only occasion we've had that it's been appropriate for in so long! 

I think that’s also why we ate it up, the inauguration and everything, because we're just so hungry for beautiful colors and fabrics. Everyone was wearing such vibrant colors. It felt so good to see that.

[Jill Biden wore] this amazing coat with a lot of needlework that was very beautiful and symbolic. Everything felt very thoughtful. I think that was the other thing about that moment in time. It wasn’t just flashy fashion; everything had some meaning. 

There are stories in the show where someone would buy something intentionally for an event, like Tren’ness when she bought the dress to wear to her grandmother’s funeral or Timmy Cappello's codpiece that Tina Turner bought for him to wear on stage. 

But then there are other garments like Mrs. Park’s yellow sweater that a Buddhist monk gave her. That’s what she wore and gave her confidence when she would dance with her Korean dance troupe. And when she was given that sweater, it wasn’t the intention.

As the curator of Worn Stories in all its capacities, what inspires your selection, or for the more sentimental pieces, how do you translate that value into a story that someone else can appreciate? 

It is really important to me in the books and in the show to have a real diversity of stories. I want the stories to reflect who we are, our collective human experience as told through the clothes that we wear, so it’s really critical to feature a range of ages and backgrounds from different parts of the country and different types of clothing.

I want this to be a show that everyone feels like they’re going to get something out of it. We all wear clothing. They will watch it, and they will respond to an article of clothing, a theme, a character in it. I think there’s really something for everyone in the show. 

Yes, everyone wears clothes. Well, almost everyone. I love that you included a nudist couple in the documentary. How did that come about?

They have made a decision to not wear clothing, and there’s something to be said for that, so it was very intentional to incorporate their story into the mix. It sets the stage to start thinking about what we’re saying through the clothes we wear and the clothes that we deliberately decide not to wear. What are we communicating with our clothes or when we’re not wearing clothing? 

Is there a celebrity or public persona that you didn't speak with but would like to interview in the future about a specific or iconic look? 

One person who I always wanted to speak with, and I am sad that I didn’t have the opportunity to, is Bill Cunningham. He would ride around on his bike wearing that blue jacket. And I always wanted to talk to him about that. When he passed away, I was obviously sad that he had passed away because of his contributions and also because I’d never be able to ask him about his blue jacket. That’s someone who I wish I was able to speak to. 

And the jacket, I've read about it. It's very utilitarian and brandless, but he made it iconic. 

Yes, and he made it his uniform. There’s an episode in the show about uniforms, and he would have been so amazing in it. There’s the woman who is the Met guard and the crossing guard. There are also people who have made their uniforms for themselves—they have said, This is who I am. I am going to represent myself through all of my hats. For Bill Cunningham, his blue jacket became his signature. And yeah, it was a French workman’s coat, but he wore it for the utility of it.

What do you hope readers and viewers take away from Worn Stories and your approach to looking at fashion through a critical lens?

Some of the key feelings for me are that clothing is so much more than the things we cover ourselves with. Our clothing is really steeped in story and memory, and these stories taken all together in Worn Stories are a way to capture our collective human experience and this sense of commonality. We all wear clothing, and things happen to us while we’re wearing those clothes. This show is a way to share those stories and the human connection that we have.

Hopefully, at the next gathering where we can all be together, people are sitting around sharing their own stories. I hope it takes on a life of its own! 

Up next: Vintage Fashion Lovers, Rejoice: Netflix's Firefly Lane Is a Blast From the Past

Welcome to Firefly Lane! The year is… well, that depends on the episode. Netflix’s enchanting adaptation of the Firefly Lane books by Kristin Hannah stars Katherine Heigl and Sarah Chalke as two lifelong best friends in a 10-episode first season that chronicles over five decades of family, relationships, and of course, fashion. Fans of the movie Now and Then (1995) will delight in the throwback vibes of the music, time-hopping narrative, and eerily on-point costumes of the main characters throughout the ’70s, ’80s, and ’00s. To confess that I binge-watched the entire show in just two days should come as no surprise. 

As fashion journalist Elizabeth Holmes regularly remarks, I had "so many thoughts.” Luckily, costume designer Allisa Swanson had all of the answers (plus a few pro tips), making me appreciate the depth of Firefly Lane and its characters even more. Without spoiling any of the roller-coaster plotlines, Swanson provided incredible insight into what it takes to outfit an entire cast (background actors included) in authentic vintage fashion, and also how the tiniest details are critical when creating a signature style that spans decades.

You’ve been a professional costume designer for over 20 years, so what excited you about Firefly Lane?

I loved the idea [of a show that spans multiple decades] because I like projects that challenge me and knew this would be a big one. The ’70s were a fun time, in general, and the ’80s is a fabulous decade for costumes. The 2000s were not our greatest period of time for clothes, but it is so different than how we dress today… I was really excited to undertake something that flexed my design skills so broadly.

Were some decades more difficult to design for than others? 

Finding kids' clothes—particularly for the early ’60s scenes—was difficult. For the scene with baby Shawn, I had a local lady in Vancouver knit those infant onesies for us because there was nothing around from the early ’60s that we could buy that would look period-appropriate for a one-year-old. I found reference photos from the early ’60s as to what babies would wear, so we sent the photos and some yarn, and she knit those for us. 

For looks from the ’70s onward, I went on a huge thrift store shopping spree right at the beginning of prep. My assistant and I hit every small town within a five-hour drive of where we lived and visited every thrift store we could. We filled up my minivan and a half-ton truck over four days. We were able to find authentic items from the ’70s, ’80s, and 2000s because people have been cleaning out their closets and getting rid of things they have been holding onto for 20-plus years. There were even a few stores in the small towns that we had relationships with, and every time they got new stock, we would do a video conference (this was pre-COVID) and they would send us the stuff we liked.

What references did you draw from to create the overall look and feel for each decade? 

I used a lot of catalogs from the ’70s and ’80s, especially Sears catalogs because that’s what everyday people wore. I had quite a few magazines from the ’80s in my collection, but that was high fashion, which our girls weren’t quite able to afford even if they aspired to it. 

I also have a huge collection of patterns from the ’70s and the ’80s, some of which belonged to my grandmother, and some were what I was making in the ’80s. We referenced a lot of these patterns to get a feel for the way a blazer was cut differently than it would be cut today, or how princess seams would fit in different spots. 

And, of course, the internet is always helpful. Pinterest is one of my favorite websites of all time, so I spent a lot of time creating boards on my personal account. I had ’70s Kate, ’70s Tully, etc. Then I had general ’70s and ’80s boards. Any time a new character came up, I would create a new Pinterest board, even for minor characters and background actors. 

When it came time to actually do the mood board for specific characters, I read the book before and highlighted it and dog-eared it and took notes, using that for cues along with the script to put character profiles together. Kate is shy and retiring and smart, and ambitious but ambitious in her own way for her own life. Tully, who was larger than life from the very beginning, is always striving for more and to be better. Starting with those character attributes, I built their mood boards, which included overarching color pallets. Kate in the ’80s was all about pastels. Tully was very bright and jewel-toned. Kate was always softer, as the grounding maternal one. Everything had a coziness to her, even when she was at work.

Who were some real-life references or sources of inspiration for Tully and Kate? 

Brooke Shields was a big icon that I channeled for both of their college looks. The fun thing about the ’80s was that it’s not just one look from the beginning to the end. The ’80s had so many different trends that if we were doing ’82 it had to look different than what we were doing in ’87. Brooke Shields embodied the early ’80s whereas Cindy Crawford was my muse for the late ’80s scenes. 

Also, Oprah was someone I looked to for Tully’s style in the 2000s since that was when the Oprah Winfrey Show was at its peak. Oprah has always been very elegant, so I looked to re-create that for Tully. A lot of the icons of the early 2000s, like Paris Hilton, were too young for Tully. She’s still a 40-year-old woman, so she’s not going to run around with her midriff showing. Jennifer Aniston was a big source of inspiration for 2000s Kate. 

What was your favorite decade to style Tully? What about Kate? 

I especially loved the ’80s as a whole, since it changes so much within the decade. All of the characters had a really cool dressy ’80s look with big hair and shoulder pads. In the ’80s everyone was done. You left the house dressed up in a look—there was so much personality. You could look completely different than the person you were standing next to and yet you were appropriately dressed. 

I really loved all of the costumes at the late-’80s wedding. Tully’s purple-and-black suit was one of the ones that we found in a thrift store. With a little bit of tweaking, very minor alterations it fit. We didn’t have to do anything to it—it was perfect and fit Katherine Heigl like a glove.

We modeled Kate and the other bridesmaids’ dresses after a bridesmaids dress I actually wore in 1987 with a boned bodice and basque waist that dips in front and exaggerated sleeves. We needed so many yards of the pink raw silk that we had to preorder it and it came straight from the factory in India. It’s just beautiful fabric.

For the men, Richard Gere was a major influence, as well as popular movies of the time like Ferris Bueller’s Day Off and Back to the Future. Interestingly enough, menswear doesn’t change the way womenswear does. There are subtle differences, like in the ’80s waists were higher and shirts were tucked into pegged and cuffed jeans.

In the 2000s, everyone was wearing their pants very low on the hip and super baggy. All the men in the show, particularly in the 2000s, look like they’re in dad’s clothes. Everything is too big. It was actually really hard to make the men look sexy in the 2000s when needed them to and yet keep to the fashion of the day.

What are your tips for vintage shopping or thrifting for pieces from a particular era? Were there any specific brands you looked for? 

My approach was more about achieving the overall style of the decade. There were so many people to dress from head to toe that shopping for a specific brand wasn’t a priority. I thought when we did our thrifting it would just be for background and concepts, but we found such good-quality pieces that a lot of the stuff we thrifted was actually worn in the show. In the trailer, Tully wears a beautiful black knit jumpsuit with the pearl neckline from the ’80s. We found that at a thrift store and it was in fantastic shape.

High-waisted jeans were coming back when we started shooting, so we’d shop for pants in a couple sizes higher in order to get a good high waist and then take it in at the waist and leave the legs bigger. Overall, the jeans were a mix of vintage pieces and some from today’s stores, many augmented to fit the girls in the waist properly.

Let’s talk about accessories. Kate’s glasses obviously evolve throughout the year, which as a glasses-wearer I love. How did you source those frames? 

Glasses generally fall under the props department, but because fashion was so important, we would decide on them together. First, the actress would come in for her fitting, we’d get her looks going, and then about a couple looks in, props would come in with the glasses and together and we’d pick our top two frames. If I didn’t think a pair of glasses went with Kate’s overall look, we didn’t let Sarah try them on at all.

Also, jewelry is prevalent, particularly for Tully. Can you tell me about working with Jewels for Hope? 

The ’80s specifically were jewel-centric—everything was big and oversize and everybody wore jewelry every day. Even in the 2000s, jewelry was a big part of completing an outfit. When we reach the 2000s in the show, Tully has a lot of money, so her jewelry had to look luxe and expensive. Tully is never going to go out and not look her best, and that includes the jewelry that is the frame for our faces. 

During filming, we shot two episodes at a time, which is called blocked shooting. Before each block started I would take at least an hour to go through Tully’s lineup and plan the jewelry that went with each outfit. It could take hours depending on how many changes she had. There were a few episodes where both Kate and Tully would have almost 40 changes over two episodes between the ’80s and 2000s. 

Sourcing the jewelry was also fun. I will call up Valerie Guerrero of The Artisan Group, who works with independent artists around the globe, and she will share what I am doing: "Firefly Lane for Netflix needs ’70s era rings, ’80s earrings, and big statement jewelry for the early 2000s.” In this case, I got the job two months before we started to prep, so I literally called her the next day and said "I’m doing a show that spans three decades. What do you have?”

All of the artisans from The Artisan Group collective, including Jewels for Hope, send handwritten notes about the piece of jewelry, how they made it, and where it comes from. I took all of the notes to set, and whenever we’d use a piece specifically from the artisans, we would write down who it went on and what episode it went in, so we could let Valerie know when they could see their work on screen. It’s a nice way for local artisans who hand-make everything to get the exposure that they wouldn’t normally get.

Once the episode comes out I’ll tweet or put it on Instagram and tag them. I’ve been using that service now since 2015 and I love it. I used it on The Hundreds and Once Upon a Time, and every piece they sent me got into the show on Firefly Lane. Every artist who made something for me got featured. All of the jewelry was so unique and special. I hope the viewers enjoy it as much as I did!

Up Next: I Stopped Wearing Jewelry During Quarantine—Here's How I Got My Sparkle Back

If, like me, you've already binged the entirety of Netflix's Bling Empire, you're probably still thinking about the OTT outfits and extravagant jewellery. Giving us a glimpse into a world where Gucci-filled claw machines are a normal part of 1st birthday parties and Dior personal shoppers make house calls, complete with racks of new-season clothing, Bling Empire offered the perfect dose of lavish escapism (which is precisely what I needed entering yet another week of lockdown). 

Even after spending years working in the fashion industry, the concept of haute couture and fine jewellery still feels like another world, reserved for celebrities attending Cannes Film Festival or nominees at the Oscars. Though for this very particular set of wealthy Angelenos, bespoke buys practically come with the territory.

Whether attending a dinner party, spa day, or yoga class, the cast of Bling Empire was basically always dripping in designer wears, and this eccentricity (though often impractical) is part of the reason I couldn't stop watching. Heiress Anna Shay was rarely seen without her Dior slingback heels, while Christine Chiu made her love of diamonds abundantly clear. Jaime Xie, an influencer on the rise, donned some of the most memorable runway accessories from recent seasons (Givenchy pearl headband and Chanel earrings included), and Chèrie Chan toted an impressive rotation of Hermès bags. 

Keen to understand exactly what went into the wardrobes of these fashion-loving reality TV stars? Keep scrolling below, as I've tracked down some of the exact designer items seen on the show. 

Jaime Xie: Chanel Earrings

Chèrie Chan: Dior Bralette 

Kim Lee: Zimmermann Dress

Jaime Xie: Givenchy Headband

Anna Shay: Dior Slingback Heels

Next up, The Biggest Spring/Summer 2021 Trends You Need to Know 

Since there was more time spent at home this year, many of our habits and activities changed. For me, it was the way I watch TV. I'm someone who dreads starting a new series and would much rather watch the same shows I've been watching for years (I'm talking about you, Gilmore Girls), simply because it gives me more comfort. But things change, and with more time on hand, 2020 was the year I actually ventured into watching new shows. To my surprise, I actually found myself adding new series' to my obsession list, from The Crown to Schitt's Creek. 

As a fashion editor and avid lover of costume, I have a special love for shows that put effort into their characters' wardrobe. Even if it's a stand-out accessory or an ongoing color palette, every detail adds to creating the story for viewers to understand better. Whether it was the coats on The Undoing or the chain that Connel wore in Normal People, it's safe to say that costume designers put in their best work this year, if I do say so myself. Ahead, you'll find a roundup of not only shows that grabbed the attention of many with their plot but also with their collection of looks.

The Queen's Gambit

Who would've thought that a show about chess would become this popular, let alone inspire people's fashion taste? Anya Taylor Joy plays Beth, a chess prodigy who learns to express herself through the game and her clothing throughout the series. She perfects retro style, from Peter-Pan collars and shift dresses to looks inspired by the chessboard.

The Crown

If I could, I would add all of Princess Diana's looks because every single one was iconic. While royalty rules don't like their women to wear pants, the Princess of Wales clearly broke the rules. What I love most about her looks was the way she played around with the way she dressed, adding youthful and playful touches to anything she wore, which the show's costume designers exuded perfectly.

Normal People

While I loved seeing Marianne's relaxed style outside of her school uniform, it was her style at Trinity College that really grabbed my attention. Her clothing truly marked pivotal moments in her life, and as she grew as a character she became more playful and assured with her dressing, wearing unique and expensive staples that captured her newfound confidence.

I can't talk about Normal People without talking about Connel's chain, which became instantly viral and even got itself a growing Instagram account. And let's be real, if Connel didn't kickstart an obsession with Paul Mescal, did you really even watch the show?

High Fidelity

Although Hulu, unfortunately, canceled Zoe Kravit's High Fidelity after one season, Robyn Brooks’s impeccable style is one to remember. Rob often mixed highs and lows like Gucci loafers and Vans to vintage tees and Hawaiian tops, encouraging many to experiment more with their outfits. One episode in and you'll want to copy her '90s-inspired looks.

The Undoing

The Undoing had everyone I follow—including the Kardashian family—on their toes. But what else caught my eye? Grace Fraiser's coat collection. After all, her character is a New Yorker with a combination of bohemian and upper east side flair, so I'm not surprised.

Insecure

In HBO's Insecure, Issa has grown significantly and taken a leap forward with her personal style, which is evident in the fourth season of the show. Costume designer Shiona Turni also made it a point to dress the cast in powerful black designers like Pyer Moss and Telfar, plus trendy brands like Staud and Nanushka.

In the first few seasons, Molly, who's a lawyer on the show, very much stuck to the standard of corporate dressing. But in this season, she donned a lot of bold monochromatic colorways and luxury pieces that helped her stand out.

Emily in Paris

When I think of French style, Camille's slew of cool-girl outfits come to mind. From her mini dresses to her oversize jackets, I wanted it all. She not only represented the ideal dream-girl in fashion, but her innate kindness also had me mark her as my favorite character of the show.

While Emily's outfits may not have been my personal favorite, the girl knew how to bring out all the stops for her formal wear. This specific look gave me major Audrey Hepburn inspiration, and I'm 100% for it.

Hollywood

Twenty-twenty was definitely the year of the mini series, and Hollywood was one of the many that did not disappoint. Created by Ryan Murphy, I was already expecting great costumes, and Camille Washington, played by Laura Harrier stole my heart many times in her eye-catching ensembles.

Bridgerton

While this is set to release on Christmas day, from the trailer it's evident that this new Shondaland series is Jane Austen meets Gossip Girl in the best way possible. If there's anything that will bring great costumes, it's a period drama. 

The Flight Attendant

There appears to be an ongoing theme of women in thrillers with fantastic coat collections in 2020. Kaley Cuoco, who plays Cassie, a flight attendant facing a series of traumatic events dons coats by designers ranging from Marni and Theory to Isabel Marant and Saint Laurent. 

Up Next, The New Gossip Girl Cast Is Filming in NYC—See Their Next-Gen Outfits

In my experience, it's vanishingly rare to come across a truly stylish TV show. A few exceptions come to mind, such as Killing Eve, Gossip Girl, and, of course, Sex and the City (in its own bonkers, '90s way), but in many of these examples, the aesthetics are focused on individual characters: the Villanelles or the Carries. However, the moment I set eyes upon the swinging '60s minis and chic mid-century interiors of The Queen's Gambit, I was truly besotted. Every frame was an artwork in its own right, and the interiors and outfits were heaven for throwback-style enthusiasts such as myself. 

With her bob and fringe haircut and high-waisted trousers, the protagonist Beth Harmon, played by Anya Taylor-Joy, could have easily stepped right off the streets of East London. All I can say is hats off to Gabriele Binder, the show's costume designer, who managed to make the outfits feel both authentically mid-century yet still appealing to the modern fashion lover. 

Clearly, the rest of the world agrees, and according to Netflix, The Queen's Gambit drew in a record 62 million viewers in its first 28 days, making it the streaming service’s biggest scripted limited series. But let's get down to the important stuff—i.e., the looks that I plan on copying this season. There are almost too many to name, but I've whittled down my faves to eight trends that I can't stop thinking about. Scroll down to see and shop my edit.

The Collared Knitwear

Harmon looked amazing in this pale blue collared knit, and it just so happens that there are plenty of 2020 iterations around right now.

SHOP THE LOOK

The Checked Coats

A checked coat is an icon of '60s style, and you can re-create the look with a little help from Joseph and Stand Studio.

SHOP THE LOOK

The '60s Dresses

Whether you opt for a modern reinterpretation or a vintage original, a '60s mini will always be a fab addition to your wardrobe.

SHOP THE LOOK

The Roll-Necks

Layered under dresses or tucked into high-waisted jeans, the roll-neck is the ultimate multitasking piece in our wardrobe, and Harmon certainly knows it.

SHOP THE LOOK

The Loafers

We're all about flats this year, and The Queen's Gambit paraded plenty of lovely loafers throughout the season. G.H. Bass is the ultimate, but Dune's iterations are also pretty chic.

SHOP THE LOOK

The Oversize Cardigans

The "granny" knit is having a moment this winter, and I'm taking my cues from TQG with loose styles in shades of beige. 

SHOP THE LOOK

The Headscarves

I'd never considered wearing a headscarf until I saw Harmon rocking hers in almost every episode. A vintage Hermès scarf from Vestiaire will do the job nicely.

SHOP THE LOOK

The Retro Prints

From retro florals to graphic checks, a throwback print is the easiest way to inject a little Queen's Gambit appeal into your wardrobe. 

SHOP THE LOOK

Up Next: Autumn/Winter 2020 Trends: The New Fashion Looks You Need to Know

If I had to hazard a guess, I'd say that many of us spent much more time in front of the television this year than we ever have before. In a year like no other, where restrictions were in place limiting interactions, work commutes became virtually obsolete and even leaving the house was largely discouraged, our living rooms became safe havens and our TVs filled the social calendar. 

Luckily, there was many an option when it came to quality TV and often a weeknight marathon would result in more than just entertainment. It would also leave us feeling sartorially inspired. From Zoë Kravtiz's incredibly cool character in High Fidelity to the glitz and glamour of the costumes on Netflix's Hollywood, these shows transported us to worlds in which the words "pandemic" and "unprecedented" were not a part of the everyday vernacular.

Between Connell's chain in Normal People and the quintessential red beret that made an appearance in Emily in Paris, there have been several looks this year that managed to capture the attention of the fashion industry (and the world). And while you could argue that we just had nothing better to gossip about, I'd contest that character costumes were just particularly good in 2020. To prove this exact point, I've put together a list of my favourite television fashion moments from this year. Keep scrolling to see the most noteworthy looks. 

Hollywood

I was a little late to the Hollywood hype, but the minute I started watching I was hooked on the glamour. The chic pencil skirts, over-the-top feathered-adorned dressing gowns and waist-cinching 1940s silhouettes represented the absolute opposite of the way I dressed this year, but I couldn't have loved it any more. 

High Fidelity 

There are few celebs who are as enviably cool as Zoë Kravitz. And while her High Fidelity character, Robyn Brooks, didn't represent Zoë herself, her outfits were just as effortless. From the oversize Hawaiin shirts to the leather coats and chunky boots, Robyn's is a wardrobe I'd certainly like to raid. 

Normal People

Normal People gained so much attention, an Instagram page was created to chronicle one of the show's hero accessories. Yes, @connellschain now has over 170,000 followers, believe it or not. Aside from that iconic piece of jewellery, the fashion highlight of the show was undoubtedly Marianne's Italian holiday wardrobe. From the gingham minidress to the black midi worn while bike riding around the Italian countryside, these scenes were the most stylish moments in the show by far. 

Emily in Paris

Say all you want about Emily's cliché beret or very dated use of Instagram, but the girl knows how to wear colour. While not every single outfit choice in the show was well-received, there were a few moments I can truly vouch for—including Emily's vibrant pink coat, green Chanel jacket, and yellow Ganni dress. 

Lovecraft Country

Now I have to admit, I haven't actually seen Lovecraft Country, but I have seen Jurnee Smollett's costumes, and they're enough to make me want to start the show. Think 1950s silhouettes with a twist. As the show's costume designer, Dayna Pink, told Elle, "I wanted to ground it in the period, then add sass and my own little sauce to it.”

The Queen's Gambit

Singlehandedly responsible for sparking a resurgence in the interest of chess, The Queen's Gambit also happened to spark my interest in 1960s fashion. Anya Taylor-Joy's Beth Harmon epitomises '60s style from shift dresses to retro prints. 

The Crown

Of course, no 2020 TV roundup would be complete without a mention of The Crown. Emma Corrin's Princess Diana captured our hearts and also happened to reignite our interest in the royal's style. In fact, several of the trends Princess Diana was known for wearing spiked in searches last month when the show premiered. 

Next: The Biggest Spring/Summer 2021 Trends You Need to Know

It hardly comes as a surprise that The Crown season four has reignited the world's fascination with all things Princess Diana. Perfectly encapsulating the royal's natural charm, Emma Corrin's depiction of Lady Di was nothing short of fascinating. And of course, along with our renewed interest in Diana's life has come a renewed interest in her ever-adored personal style. 

Season four predominantly takes places throughout the 1980s, depicting the early years of Prince Charles and Princess Diana's marriage. It was an era in which shoulder pads and feathered hair reigned supreme, and as the fashion-conscious royal she was, Diana partook in several of the decade's most iconic styles.

Throughout the series, fans get a glimpse at some of Diana's most notable fashion moments—including the blue blazer and pussy-bow blouse she wore for her engagement announcement—as well as an imagined look into her more casual, everyday attire. In fact, fans have been so enamoured by the costume design on the show that shopping app LikeToKnowIt has recorded a staggering increase in searches for various trends Diana championed. 

According to LikeToKnowIt, there has been a 7000% month on month increase in searches for large-collar blouses since the show aired, a 2900% increase in searches for pussy-bow blouses, and a 1000% increase in blue blazers over the same period of time. 

Even years after her tragic passing, it is evident that Princess Diana's iconic style remains as coveted as ever. Keep scrolling to see how these trends were depicted on The Crown and to shop the three trending looks. 

Princess Diana Costumes on The Crown 

Style Notes: This is undeniably one of Princess Diana's most iconic looks. When announcing her engagement to Charles, the royal donned a blue blazer and pussy-bow blouse, which perfectly matched the shade of her sapphire engagement ring. 

Style Notes: Throughout the series, Diana wore several statement collar blouses, which were a true hallmark of 1980s style. These looks often appeared as part of her more casual attire, and thanks to contemporary brands like Ganni, many iterations of this trend can readily be found today. 

Style Notes: Another example of Corrin's character embracing the statement oversize collar. Princess Diana wore a similar look while on a royal tour of Australia. 

1. Large-Collar Blouses 

2. Pussy-Bow Blouses

3. Blue Blazers

Next up, The biggest A/W 20 fashion trends you need to know. 

After bingeing the entirety of The Crown's fourth season in just a matter of days, it's safe to say that I am well and truly in awe of Emma Corrin's spot-on portrayal of Princess Diana. Thanks to her recent breakout role the actress has been making the press rounds to publicise the show (albeit from home), and as it turns out Corrin is just as fashionably inclined as the woman she plays on screen. 

The star appeared on The Graham Norton Show wearing a puff-sleeve number by Richard Quinn and opted for a head-to-toe Miu Miu look for the series' (virtual) Netflix premiere. However, when it comes to everyday outfits, we're starting to discover that Corrin's style is a little more attainable—and she's just as adept at shopping the high street for classic as she is at pulling off a 1980s pie-crust collar.

Corrin was spotted out and about in London this week sporting a cream, double-breasted coat from Mango's most recent collection. The actress paired the classic outerwear piece alongside a mustard roll neck jumper, straight leg trousers and lace-up boots to create the perfect outfit for this time of year—a look that was extremely well suited to a day spent at the park. 

She may play the ultimate style icon on screen, but if her recent looks are anything to go by, it seems Emma Corrin is well on her way to becoming a bonafide fashion star herself. And luckily, if you'd like to emulate her style, the exact coat she cherry picked from the Spanish retailer is still in stock online. 

Keep scrolling to shop Emma's Mango coat, as well as a few other cosy coats from the brand's most recent collection. 

Shop Emma's Mango coat: 

Shop more Mango coats: 

Next up, the biggest A/W20 fashion trends you need to know. 

Opening image: Getty 

Zut alors! Have you heard? Everyone's favorite binge-series, Emily in Paris, was just renewed by Netflix for a second season—with a press release from Savoir making it official.

Apparently, the impossible-to-impress luxury PR pro, Sylvie Grateau, shares the popular sentiment: We simply cannot go on with—or without—our favorite American plouc, Emily Cooper. 

Helmed by costume designer Patricia Field, the Emily we know and love paraded through Paris in outfits that were often hit or miss, with very little in between. While only time will tell if Emily (played by the recently engaged Lily Collins) actually attempts to learn French, it's not too soon to take bets on what zany fashion moments lay ahead. 

So whether you're an uber-fan of bucket hats or prefer the classic beret style, let's take a stroll down memory lane at the many fashion moments in season one that made us say "merde!" in the best possible way. 

Is this picnic appropriate? For sure. This is actually one of the more sensible looks for both Emily and Mindy, played by the phenomenal Ashley Park. 

Well, that's one way to mix prints! Go big or go home to Chicago, right Emily? 

Let's not go overboard—a neutral bag is a must.

How do you say "selfie" en français? 

If you didn't drink champagne in front of the Eiffel Tower, then did you really even go to Paris? 

Pro tip: Professional use of images of the Eiffel Tower is actually very pricy, so this is probably a green screen. Merde! 

Notice how everyone else is in neutrals? Looks like Emily missed the memo, but TBH, this is actually a fire 'fit from our American POV.

J'adore Camille. 

It's a plaid, plaid, plaid world. 

Camille and Emily's boots are speaking the same language: love.

Je m'appelle Emily. J'adore bucket hats. Et tu?

In the words of Darren Starr's '00s ingénue, Carrie Bradshaw, I couldn't help but wonder… How many coats does one really need in Paris? An entire suitcase, perhaps?

Head to toe black? Check. Picturesque sidewalk cafe? Check. Basket of croissants? Check! Emily is finally fitting into her new surroundings. 

Say what you will about Emily's sense of style, but when it comes to evening attire, Lily Collins always brings her A-game. We could see the star wearing this look IRL. 

True or false: Sylvie is by far the best-dressed character in the entire show.

Merde, another bucket hat.

We're calling this look "colorful cottagecore."

Another merde moment—not because of the dress, though.

It seems like Emily is taking a few cues from Sylive's effortlessly chic style but still has much to learn. Maybe pageboy caps will be Emily's thing in season two?

Yep, we're calling it: Pageboy caps are definitely the it-hat for season two. Voilà!

Next: Emily in Paris Star Lucas Bravo Loves Reinventing His Style

Between the sheer number of Chanel handbags and the prevalence of stiletto heels on cobblestone streets, you wouldn't be wrong in thinking that the costume design in Emily in Paris is a little unrealistic. While I don't think the series was trying to infer that it's normal for your average 20-something to be swanning around in Chanel tweed jackets and Louboutin heels, there's no shame in feeling like Emily Cooper's wardrobe did not align with your reality. 

Of course, even for those of us who don't own a Dior baker boy cap or Off-White puffer coat, there are a few other more-attainable style ideas we can steal from the show's protagonist, most prominent being her penchant for tonal colour dressing. 

Throughout the series, Emily appears in a number of brightly coloured outfits which often revolve around a single hero colour. Whether it be green, yellow, or pink, Emily often picks a certain hue and styles an entire outfit around its various shades. 

For example, one of the season's most memorable outfits included a pastel green Chanel coat paired with a green tartan bucket hat and a lime-coloured Staud bucket bag. In another episode, Emily was seen in a shocking pink coat with a matching skirt and a pink patterned jumper. 

In honour of Emily and her love for all things colour, we've chronicled four of her brightest looks below, shopping out some equally vibrant pieces if you're feeling the need to liven up your wardrobe. 

Style Notes: Arguably one of the show's most prominent looks, here, Emily goes for an all-green ensemble. 

Style Notes: This pink coat was one of the series's more prominent pieces. Emily wore it while meeting Camille for the first time and also wore it in another scene alongside a pink skirt, jumper, and bright pink knee-high socks. 

Style Notes: For this summer day, Emily wore a yellow Ganni top alongside a maxi skirt by the same brand. The character then paired this look with a similarly bright yellow handbag. 

Style Notes: Here, Emily pairs a tailored red coat with a red minidress and the pièce de résistance, a bold red lip. 

Next up, The Biggest Autumn/Winter 2020 Fashion Trends You Need to Know

Every now and then, a TV show comes along that inspires us to take our wardrobes up a notch. From corsages to name necklaces, Carrie Bradshaw paved the way for so many of us to experiment with playful New York fashion-girl style, and now, we have Emily Cooper. Even if you haven't yet burned through the entire season of the buzzy Netflix show Emily in Paris (do not assume you'll be able to stop after one ep), I'm sure you know by now that people are falling for the titular character, played by Lily Collins. From the creator of Sex and the City, Darren Star's newest show focuses on Emily as she takes risks in both her style and her career as she lives out nearly every 20-something's dream of packing up and moving to Paris. As a fashion editor, I was beyond excited to escape with the show, and it's binge-worthy deliciousness certainly did not disappoint.

From influencers to fashion editors, it seems that Emily in Paris has already made an impact on our fall-outfit choices. There’s just something so charming about seeing those American-in-Paris outfits popping against that muted French backdrop, and it's inspiring our looks (doesn't hurt that Patricia Field was one of the costume designers on the show!). I reached out to six fashion people who I knew would have already watched the show to see which outfits they were feeling most. Their picks are so on point and also happen to be super easy to recreate. Keep scrolling to see how Emily's style is creeping into their fall looks.

Jeans and a white top are always a good idea, and Allegra Shaw agrees. When I ask Shaw what look she would recreate from the show, she immediately picks out this chic and classic ensemble Emily was spotted wearing in episode two. "Emily is bold with her style, and I love that. I’m definitely inspired by the use of interesting textures and prints. I’m definitely more a neutral kind of girl, but lately, I’ve been trying to add more interesting pieces into my outfits, and I think Emily does just that,” Shaw says.

Our resident senior editor Kristen Nichols has a serious knack for pointing out the newest trends in French-girl style, so naturally, I was dying to know what she thought of the outfits in Emily in Paris. There was one in particular that really stood out to her, and it was when Emily wears a red houndstooth blazer and a pair of over-the-knee boots. Nichols, who is the queen of chic, tells me that the show "is a fun escape to one of my favorite cities at a time when I can’t travel there in person. It has me thinking about all of the spots I want to visit next time I’m there and the Paris-inspired looks I’ll be packing in my suitcase.”

There’s no denying that the show's costume design is superb and full of color, which is why New York City–based influencer Waikei Tong really gravitated toward this minidress look. "I love that Emily has a huge affinity toward color. I personally love wearing colorful outfits and coordinating fun color palettes, so her outfits on the show have been a great source of fall-fashion inspiration for me,” Tong tells me when I ask her why this specific outfit inspired her. I, too, am very excited to see more color incorporated into these outfits, especially with the more minimal details like the floral print.

I was so excited when I received word that Janelle Marie Lloyd, another New York City fashion influencer who I frequently Insta-stalk, was going to be part of this story. For those of us who follow Lloyd, we all are aware of her timeless style, which is why I'm not surprised to hear this yellow dress Emily wears while getting stuck outside the office is what’s inspiring her this season. I also love how she interpreted it to work for her own wardrobe. "For me, French-girl style means easy sophistication and femininity. My New York interpretation is still effortless but with a touch of edge,” Lloyd tells me. Worn with a jacket for chillier days, this look is perfect for any day of the week.

I have to say, the minute I saw Emily wearing this red beret in her French class, I was on the hunt to pick one up for myself. Raeann Langas felt the same, and she tells me this black and white ensemble was really speaking to her. "Emily is brave and bold in both her personality and her style,” she mentions. Langas also made a point to tell me "Emily in Paris has me nostalgic about that feeling when you go to a new city and everything is new and exciting and you can be anyone you want to be—your true self can be set free. I think that translates to Emily's style in the show, and it inspired me to have fun with color and patterns, which is a bit out of my comfort zone.”

Like Emily, Los Angeles–based influencer Christa B. Allen has a knack for incorporating pops of bright color into her wardrobe. What I love about Emily’s style is that she always finds a way to add in a hat to her look and so does Allen. The bright-green coat Emily wore speaks to Christa’s love for styling with color, so she put together a bucket-hat outfit that is full of pops of pink and yellow. "When I think of Emily’s style, I think of a few specific elements: newsboy and bucket hats, scarves tied around the neck, short hemlines, playful boots, and chic coats,” Allen says.

For more of Emily's chic and envy-inducing outfits, watch the trailer here. 

If you haven’t already finished watching Netflix’s Hollywood, don’t worry—there are no spoilers ahead—and if you haven’t even started, prepare to carve out a block in your schedule because you’ll want to binge this fanciful-yet-fulfilling eight-episode miniseries immediately. 

You don’t have to be a die-hard fan of Ryan Murphy or his remarkable cast of recurring characters in order to appreciate the sheer beauty of Hollywood. Although I happen to appreciate Murphy’s particular brand of over-the-top television (see: Nip/Tuck, The Politician, and American Horror Story: Coven, in particular), I knew Hollywood was my next must-see as soon as the first promo images were released.  

Set within Hollywood's studio system in the post-war ’40s, the series tells an atypical tale of young ingenues and rugged romantic leads vying for stardom and the creatives and executives that usher them into the spotlight. As the fictitious Camille Washington, Laura Harrier displays undeniable star power—she steals the show in more ways than one—but it was the costume design that piqued my interest first and comes in at a close second for most impressive performance.

Last week, I had the opportunity to connect with costume designers Sarah Evelyn and Lou Eyrich, both longtime Murphy collaborators, and inquire about their work creating the visual identities for this quasi-historical period piece. Below, you’ll find their insightful answers, sources of inspiration, and even more evidence of their incredible attention to detail.

Spending time with the series has illuminated not only what was, with precision replicas and vintage pieces from the era, but also what could have been, both in colorful interpretations of iconic outfits and in Hollywood itself. In fact, I found Murphy’s self-described tribute to Hollywood’s Golden Age so thoughtfully executed that I’m already planning a rewatch through a more fashion-focused lens.

For fans of the Golden Age of Hollywood, it's often the aesthetics of the period that stand out the most. When creating the mood boards or treatment for the film with Ryan Murphy, what were some specific films from the era—or iconic costumers—that helped guide your vision?

LE: Ryan comes to every project very aesthetically directed, and he has amazing ideas and references. He and I first meet to discuss the look of the show, and that is always the jumping-off point. Ryan wanted to lean into the Golden Age of Hollywood, seeing gold and a warm glow as a through-line for the color palette, which developed into something he called "harvest tones.” Also, [George] Hurrell’s glamorous photography was a starting point, and some of the classic moves like Notorious; Dark Passage; Now, Voyager; Gentleman's Agreement; Rope; Casablanca; etc., as well as some of the designers of the time, like Adrian [Greenberg].

We started with Ryan's direction and kept digging. We never stopped watching movies from the 1940s, we supplemented movies with candid photos, we looked hard for photos that would show what we might call behind the scenes and street style—Stanley Kubrick took some great photos of people on the street in the 1940s, and the book Jean Howard's Hollywood has great candid photos of Hollywood off work, behind the scenes and in more private spaces.

We also hired a researcher in NYC, a fashion historian who helped us access archives that weren’t readily available and written resources, which were really important. It was these articles (and no photos) that gave us insight into color, nuances of style, and styling and etiquette.

It is interesting how the colors used throughout the show get more intense the closer each character gets to the spotlight. For example, Henrietta, played by Maude Apatow, consistently wears cooler tones, favoring mostly white and blue, whereas ingenues Camille Washington and Claire Wood, played by Laura Harrier and Samara Weaving, stand out in bright reds, and behind-the-scenes players like Holland Taylor's Ellen Kincaid are often seen in warmer tones.

Was the vibrancy of color intentionally concentrated so close to the stars? Did this come from historical research or fashion trends of the era?

SE: We're so glad you noticed the palette. We loved the colors for this show. It wasn’t based on historical research—it was a Ryan Murphy stroke of genius. I think it underlines the aspirational nature of the show, the dreamlike quality of some of the plot points, but it’s not dreamy, it's just… inspired.

Playing with color in terms of intensity wasn’t necessarily a predetermined strategy, but when you are thinking about what a character is doing in a scene, when it’s a bolder moment, as designers, we tend to move toward the stronger colors, whereas Henrietta was more of a muted, less aware, less developed character, and so she naturally might go into something a little more washed-out, paler, softer to reflect that and so on.

Regardless of the characters' proximity to Tinsletown, red lipstick seems to be a requisite throughout Hollywoodland. How did the high-femme makeup of the era factor into the costume design for different types of female characters? 

LE: We loved collaborating with the hair and makeup departments! We would send costume fitting photos to them, and along with Ryan, they would determine the looks for each character. Eryn Krueger Mekash and Michelle Ceglia have been mainstays with RMTV for years, so it all meshes together so beautifully.

Honestly, we worked with the period fashion references when developing the female characters, and then the hair/makeup teams would perfectly elevate the looks with the wigs, hairstyles, and high-femme makeup of the era. The same goes for collaborating with the production designer, Matthew Ferguson, and set decoration. Matthew has the most amazing eye and developed gorgeous sets. We worked closely with them to make sure the costumes complemented nicely with the sets.

Thinking about Camille's and Claire's characters, what are some design elements that differ when they are playing themselves (i.e., Camille and Claire at home in private spaces) versus on the studio lot, versus in character while working on the film?

What do these costumes within costumes say about each character's foundation points and personal evolution?

LE: Claire was our young Marilyn Monroe, Ava Gardner, Veronica Lake character. She was the screen siren, and growing up in the business (as she did), I think this reflects her shrewd understanding and perhaps slightly jaded knowledge about what it takes for a woman to make it in Hollywood. In the beginning, this siren attitude is her armor, her way of defending again a charmed life that was still painful (the binds of being female in the ’40s, contentious relationship with parents, absent-ish father). As we see her character develop and she reveals her softer more complex side in her friendship with Camille and her true strength in her insistence on justice, her silhouettes and colors got softer and more textured—exemplified in her lavender frothy tulle gown at the Oscars. I'd say at the studio and in private spaces, she was always the current version herself, wherever we were in her character arc, screen siren in the studio, siren vibes at home.

Camille was our Katherine Hepburn, Lauren Bacall, Dorothy Dandridge. She was the effortless "It girl" who made dressing look easy and didn't follow trends but started them, unknowingly. She didn’t have much money, as they were aspiring to make it in Hollywood. She was a natural artist, a natural rebel, but effortless, so we used more offbeat colors on her, mixed and matched patterns, put some knit dresses from the ’30s on her that may not have been of the moment, but she made them look modern, and she was herself everywhere she went. That’s part of her strength. She didn’t dress differently when on the studio lot, as she was her authentic self. But for the role of Meg, she dressed like a 1930s Hollywood starlet in smart matching ensembles designed for the character, not for Camille.

While most characters are fictitious, several, including Jake Picking's Rock Hudson, Michelle Krusiec's Anna May Wong, Queen Latifah's Hattie McDaniel, and Katie McGuinness's Vivien Leigh, were major real-life stars of the age. How do you go about designing, or in some cases re-creating, costumes for people who actually existed?

Were there any historical moments (such as the Academy Awards) that you were compelled to reference, or were you able to take liberties and tailor the costumes to be consistent with the overall vision for the show? 

SE: When we were re-creating a character but not an actual moment, we would take liberties. We’d heavily research the style of the character (like Vivien Leigh) and then find the magic in the fitting room with the actor—what garment on the actor feels Vivien.

When we were re-creating real people in real moments like Hattie, Ryan felt it was really important to respect the moment by re-creating it exactly. There were lots of images of Hattie in her dress, but they were all black and white, so we went to our trusted and beloved fashion historian for some help, and she found a series of written accounts describing the color of the dress and cross-referenced that with 1940s colors to make sure that we were indeed re-creating correctly.

With someone like Rock, there really weren’t many images of him before the very late 1940s since he hadn’t get gotten famous, so we researched his style and tried to take it backward to imagine what a Midwestern truck driver who’d be unaware of his star power would have been wearing.

While the entire series is a stunning visual piece, I have to admit Patti LuPone's character, Avis Amberg, is a consistent delight. The hats, the fabrics, the jewelry! What was it like not only designing for a Broadway icon but also creating the look for a powerful female executive in 1940s Hollywood?

LE: Patti has been a "regular” on RMTV shows, and it’s always a delight to get to work with her! This was the first time doing the 1940s period, however. She’s so game for anything, and she was just a dream.

First of all, she can make any costume look good, and she commits, from the period undergarments to the big hats and over-the-top jewelry to the songs she sings to you in the fittings or the big warm smile she gives you at the crack of dawn when you are zipping her into a corset. She’s really passionate and loving and caring and so good at supporting other creatives. It was really special. We want to be Patti when we grow up.

What was it like designing for the male characters? How were the suiting styles of the '40s different than they are today? How did you differentiate between the creatives (Darren Criss's Raymond Ainsley and Jeremy Pope's Archie Coleman), executives, and actors?

SE: Suiting was very different in the 1940s—a much baggier cut, large lapels, big, big shoulders, and high-waisted pants. Amazing but different, and it can take some finessing to get a modern body (tall, long arms and legs and built from working out) into a ’40s silhouette. For some of the characters, we’d nuance a bit, perhaps cutting the legs and jackets a little slimmer so it looked ’40s and sexy to the modern eye and not just an oversize suit. 

For the executives, we tried to keep it luxe, luxe, luxe. Dark, rich fabrics, traditional power patterns like pinstripes, crisp shirting, and power accessories—cuff links, tie bars, pocket squares, new hats, and so on. 

For the creatives like Darren, Archie, Jack, and Rock, we built more textured layers and a little bit more casual closets. They didn’t have the money, but they had the style. For Darren/Raymond, we kept him in suits but played with more texture, color, and pattern. We’d add a pink vest (an ask directly from the Ryan Murphy brain trust) or a neck scarf. For Archie, we felt he’d really be an artist. He'd be the guy that creates style and a jazz baby. We looked to some of the jazz musicians at the time that would hang out on 52nd Street in NYC. Jeremy looks so good in clothes, so we really played around with more out-there 1940s pieces and patterns and mixing and matching. He’s a creative rule breaker, and that applied to his fashion as well.

SE: Dressing Jack was a lot of fun. David Corenswet is a lighting bolt. He really loves costumes! Ryan saw him as a young James Dean, so that was our starting point. What would this guy wear who years later would make the jeans and a T-shirt iconic? He’d wear something casual, easy, but that looked like a million bucks, and the very ease of it would make it sexy and all-American. He has a lot of short-sleeve button-front camp shirts opened so you could see a bit of a tank, or a well-fitted knit polo shirt, all-American hottie ’40s style.

Jake/Rock was a historical character, so we did tons of research on the actual Rock Hudson, but images of him didn't start appearing until the very late ’40s/early ’50s, so we had to imagine backward, this guy from the Midwest that had been a truck driver for a living. What would he have been wearing during his rise to fame? We loved the idea of a khaki and some sort of popover shirt, slightly nerdy but actually cool, 1940s version of J.Crew. 

Dressing Dylan [McDermott]/Ernie was awesome. Dylan is such a fantastic collaborator. He has so many ideas, and he puts on a costume and brings it to life. His character was very Fred Astaire/Cary Grant. We love him.

Similar to the contracted ingenues Camille and Claire, Rock Hudson serves as a contrast to fellow aspiring romantic lead, Jack Castello, played by David Corenswet. How did you use costume to convey the differences between these two men vying for A-list roles in Hollywood? Was it more challenging to design for Hudson since he was a real person, or Castello since you were starting from scratch?

SE: We imagined Jack Costello as a young James Dean and Rock Hudson as a young Rock Hudson obviously. Jack was a bit more fashion-forward. He was a little more ’40s version of jeans and T-shirts, and for Rock, we tried to create a bit more of a preppy country bumpkin-ish look but that was cute on him. If it was today, Jack would have been Levi’s and Rock a little more J.Crew. 

There are challenges to both. Starting with a real-life character gives you a definitive direction, but then you feel the pressure of creating a connection to history, representing this real human properly. Working on a fictional character has a less definitive direction, but once you dig in and you find your way, that guides your style direction and becomes your North Star for costume choices. Ryan saw Jack as a young James Dean, so once we had that, we were well-oriented.

There are a few memorable nude scenes (and several semi-nude scenes) throughout the series. How does the costume department play a role when clothing requirements are minimal or nonexistent?

LE: We were super fortunate to have a great intimacy coordinator, which takes much of the load off of costumes, but costumes do play a role in nude scenes as we supply all possible garments and padding that will make the actors feel more comfortable. I think our set people also often just give more support and a guarantee of a safe space, but again, we had a great intimacy coordinator who had really good relationships with all the actors, and he did a lot of the heavy lifting on this one. Also, when it's a scene where an actor goes from dressed to nude or clothing comes off or there’s lingerie, that can add a technical challenge. How do we make these buttons easy to unbutton? How do we make this super-sexy lingerie ensure coverage, and so on?

Lingerie and undergarments were significantly different in the '40s than they are today. Did you custom-design the lingerie we see? Were they an accurate reflection of the styles of the period, using the same materials that would have been available then?

In an effort to achieve the cinched-waist figure that was the Hollywood ideal, were "authentic" undergarments used even when characters were fully clothed?

LE: More or less, we used traditional foundations, and the ones we made that would be seen we tried to keep as true to the period as possible. Yes, most of the actors wore the traditional 1940s undergarments, but they were reproduction corsets/girdles, garter belts, and seamed stockings. Rago makes great repro girdles. Stockings were actually surprisingly hard to keep in stock, but we ordered seamed stockings from Berkshire and What Katie Did. We’d go to What Katie Did for underwear and a couple other contemporary places that still carry more traditional style bras and undies. 

Regarding lingerie, often that was period or something that our brilliant cutter fitter, Joanne Mills, made using antique lace and silky fabrics, as they would have been in the ’40s.

What is your favorite costume from the series and why?

SE: Can’t say—I don’t have a favorite. I loved so many. I think that the Oscars were really special, and all those actors endured some not-so-comfy costumes for long hours and made them look amazing. We tortured poor Laura Harrier, but she gave us everything because we loved that dress! Holland was a real favorite. Her own mom was an inspiration for her character’s. Patti, Jeremy, Darren, David, and Dylan were great. Everyone, everyone just made the costumes so special.

LE: The gas station uniforms were pretty special. Ryan, Sarah, and I had a good time designing those and worked really hard on getting the 1940s silhouette right for our guys. Coordinating the colors, finding the right fabrics, that took a while; deciding the hats and developing the jackets, we love those jackets. We also got all the tie bars and belt buckles custom-made.

Were there any specific outfits or accessories you or the cast were able to keep after filming?

LE: We don’t keep costumes unless it’s for the overall RMTV costume stock. Some of the cast asked for their costumes, yes, and Ryan is doing a benefit auction with some of the accessories and clothes kept aside. I wish I had kept a gas station uniform jacket! 

For fellow fans of Hollywood's Golden age, can you recommend any films or movies that helped to inform your understanding of the period?

SE: Yes! Casablanca; Dark Passage; Woman of the Year; Now, Voyager; The Lady Eve; Notorious; Killers; The Maltese Falcon; Rope; Gentleman’s Agreement; The Lost Weekend; Gilda; A Letter to Three Wives; The Red Shoes; and so many more!

But that's a good start…

Up next: All Dressed Up With Nowhere to Go: A Zoom Photo Shoot With Laura Harrier

If you haven’t yet heard the name Minju Kim, may I suggest you stop what you are doing and tune into Netflix's Next in Fashion? From the first episode, the designer's impressive talent is evident, and by the last, you'll be in awe of her innovation and endearing modesty. As the winner of the series, which is hosted by Alexa Chung and Tan France, Minju Kim is set to become a household name in no time, especially if Net-a-Porter has anything to say about. 

On the series finale, Kim was tasked with creating a complete 10-look collection in only three days, and what she produced was nothing short of dreamy. Featuring her signature voluminous silhouettes and interesting use of bold colour, Kim's collection stayed true to the personal aesthetic she maintained throughout the season. A fashion girl's dream, the collection has already been worn by the likes of Alexa Chung and the ever-stylish Jessie Bush.

If you're looking to get yourself a Minju Kim original, now is your chance, as the designer's winning collection has recently launched on Net-a-Porter—this was the prize of the show. Unsurprisingly, some of the pieces have already sold out, though many of the designer's most talked-about looks (including the emerald-green mini worn by Jessie Bush below) are still in stock. Keep scrolling to see and shop the collection. 

Shop Minju Kim: 

Next up, the biggest S/S 20 fashion trends you need to know. 

Unpopular opinion: Rom-coms don’t get the credit they deserve. Don’t get me wrong. There are so many great serious films and shows and rising stars that deserve all the accolades, but who wouldn’t love a little heartwarming film? To All the Boys: P.S. I Still Love You, the sequel to Netflix hit To All the Boys I've Loved Before, is just that. And like any style devotee, it's worth reminiscing about how giddy the ensembles made us, in honor of the release of the third film, To All the Boys: Always and Forever. 

Lara Jean (played by Lana Condor) may have found love, but unlike the protagonist, fashion is forever my first love. Which is why I tapped the veteran costume designer behind the film, Lorraine Carson, to spill all the details on how they went about making a teenage rom-com wardrobe chic enough for an editor to fall in love. Consider this a love letter to the costumes, the film, and the universal story of how our style evolves from our adolescence into adulthood and beyond. But first, a little about Lorraine Carson… 

For those who aren’t familiar with your work, can you tell our readers a little about yourself? 

I started in the theater world as a seamstress under Stratford theater in Ontario, Canada, and from there, I have been designing costumes in the film industry for many years. I’ve worked on a very broad range of types of projects, from very small independent projects to major feature films like Pirates of the Caribbean, The Exorcist, and the film To All The Boys: P.S. I Still Love You.

You do have such a wide breadth of work. What has been your favorite production to work on thus far and why?

I have to say I have a passion for period pieces. Having the chance to work as a costume coordinator on the last Pirates of the Caribbean film was fabulous. But I have also personally designed several projects that have been based in the 1940s, like the series Nothing Too Good for a Cowboy. We created a lot of the clothing from scratch for that series because 1940s clothing was worn to death, so it’s not available to rent or purchase. Being able to delve into the past and research and re-create costumes for period pieces is always fun, and those have been my favorite productions to partake in.

Costumes for a period film are so different than those for a contemporary film. Is your approach at all different when you’re thinking about costumes for those different types of films? 

It actually isn’t. It is very different in what you see in terms of the application and what you see on screen, but my process is the same. Whatever I’m doing, I’m doing research. So if it’s a film about teenagers like To All the Boys, I’m researching what teenagers are wearing. If I’m doing a period piece about ranchers from the 1940s, I’m researching that. So there’s a great deal of referencing required to create costumes. It’s a different type of research where I’m researching online for current-day fashion versus books for period pieces. But the process is still the same. You need to have your homework done, and you need to know what you’re doing to apply it on screen.

Why To All the Boys? What about this project interested you? And why do you think this story is still a relevant story to tell from the lens of style? 

The reason I was drawn to this project is how I’m drawn to most of my projects. It’s about the story and the content of the story. And I will always tend to choose a project that has a positive story because that’s something I feel I can help perpetuate in the world. Being that this series is based on Jenny Han’s collection of three books, I feel it sends a very positive message to young women. It talks about something that maybe you don’t think anybody else is going through, but everybody goes through, and it brings it out in a very humorous and loving way.

Read the novels the film is based off on:

To All the Boys is obviously about the life of a teenager. How did you go about creating looks that not only honored her age but also were relatable for viewers of all ages? 

Because Jenny Han’s work has a fan base as well of all age groups, and the movie itself has that same fan base, we had to approach the costumes by honoring these iconic characters formulated from the first film and the novels while expanding it into the second and third films. I took snippets of her past from the previous film and added it into her costumes for this film, so I made sure there was something vintage or retro. We moved away from her signature combat boots and gave her shoes with a little height to show that maturity of the character, all while using very current fashion from North America and Korea and stuff from Europe to inspire her looks. We threw it all together and styled it into a very unique look for Lara Jean, and we did the same for all the characters. But beyond honoring the characters, the story is about her coming of age, growing into a relationship, and changes within the family dynamic. All of that helped me define that through her visual look on camera that can hopefully speak to the universality of this story to all viewers.

Shop pieces inspired by this Lara Jean outfit...

How did you go about sourcing the pieces for the costumes? How long did it take to create the looks?

I had about a six-and-a-half-week prep for the film, and my team came on five weeks out. So we created mood boards so the producers', director's, and my ideas could be combined and refined so that once my team was on, we could go source the pieces. We hit the vintage stores, went online, and that’s how we sourced costumes for this film. I knew I wanted to incorporate vintage into the film because it gave a more eclectic feel to her character. At the same time, we needed to have current-day fashion. 

For the current-day pieces in the film, where were you pulling those from? 

I had a team of six shoppers and myself, and we just pulled from everywhere. It’s very difficult to say any one source, but if you talk about an individual outfit, none of the characters' looks were from one place. 

Shop pieces inspired by this Lara Jean outfit...

What was your approach when it came to dressing Lana Condor as Lara Jean in the film? Can you go a bit into the process of the mood board for her? 

Of course. The scene depicts somewhat what the outfit is, whether it's pants or skirts or a hanbok from Korean traditional wear. So the storyline depicts a lot of what the style of clothing is, and then our team will go out and source things. And then we’ll do a fitting with Lana Condor and then the creative producer (Jenny Han) and myself to decide the looks. And because we shot the film in 4HD, it has a slightly limiting effect on what fabrics you can use for costumes, so you can’t use ribbed fabrics because it will cast shadows, and so much contemporary clothing is ribbed because it’s body-conscious. So we had to find a way to get that same effect, so we tailored all of the looks to give that same visual effect as a ribbed fabric. There are many facets to the costume design process that people don’t know, and you can’t use certain colors of fabrics.

Let’s talk about the traditional Korean hanbok look that Lara Jean wears in the film. Could you tell us a little bit about how you went about finding that look and being sure to honor the history around that traditional garment? 

I have to start with the fact that I went to Jenny Han, who wrote the story, and I went to her as a source for creating looks for anything traditionally Korean for the history and heritage behind that look. And then I researched extensively the history of the hanbok garment that Lara Jean was wearing in the film and learned it came to be in the 1100s. In addition to learning about the history behind the look, for the film, we had a specific color palette for the movie, and all the characters' and Lara Jean’s colors were so specific because she’s in 98% of the movie. So we wanted to keep her hanbok in those colors, so with Jenny Han’s help, we sourced two traditional Korean hanbok shops in Los Angeles, and Jenny called us over the phone, and we shopped the fabrics for the look over FaceTime. 

Wait—there’s a color palette for the film? Why was it such an integral part of creating this film?

Our director, Michael Fimognari, had a vision that he wanted to have this color palette for the film. He had put this into play for the first film when he was the cinematographer, and now he was doing both the directing and the cinematography, so it was extremely important for all us to maintain this request he put forward. It was ambitious, but we did it, and I think it came off really well. It added an interesting depth to the film because for Lara Jean, and for any of the other characters because they all had individual color palettes, those palettes had to be represented in the scene either through the costumes or set design, so it was quite the collaboration with my team and the production designer to honor that in each scene. 

What colors were in Lara Jean’s palette? 

The overall color palette for the film is the same as Lara Jean’s individual character’s palette, so whatever scene Lara Jean is in, we had to have one of those three colors—magenta, cyan, or yellow—whether it was on her as a piece of clothing or in the room as a piece of furniture. 

Shop Lara Jean's color palette:

Would you say there are any key pieces that constitute a Lara Jean outfit? 

Definitely. The thing that emulates that the most is the outfit we created for her first day of school where she’s wearing a little pink skirt that I got in Vancouver that’s from Korea. And we paired it with a Zara coat that we tailored down because it was quite boxy, so we made it more of a late '50s, early '60s car coat look. We paired that with some Jeffery Campbell high-heel loafers. It was an outfit that was so her but was slightly more mature and kept the feel of her in movie one but represented her evolution as an adolescent character. 

Shop pieces inspired by this Lara Jean outfit...

Speaking of outfits, we can’t not talk about the gown Lara Jean wears in the film. Where was it from? 

Of course, everyone loves the Cinderella moment dress! Actually, it was a red carpet dress from J. Mendel. It was strapless, but we shortened it to fit Lana Condor and took the extra fabric to make a shoulder strap for the gown. And then we paired it with some shoes from Aldo. That look was every girl's dream including mine. 

Shop pieces inspired by this Lara Jean outfit...

Was there one look or character you loved creating costumes for most within the film? 

I think, honestly, they’re all so great, but the character that was most fun was Stormy. Just because of all of the 48 costume changes Lara Jean had, Stormy’s approach was quite different. She had been a world traveler, so in her closet, that needed to be reflected as well. So that was super fun to be able to go to the vintage stores and go, "Oh, yeah. That’s from Morocco. Let’s get that.” Her looks were from all over, and we combined all her vintage things with last-season Zara. Her looks were all very Katharine Hepburn–ish. 

Shop key pieces to re-create this Stormy outfit:

What do you hope viewers take away from the costumes alone in this film?

I want people to not be afraid to experiment. I want people to go, "Maybe I will go shop at that secondhand store, and maybe I’ll try that 1940s jacket with my jeans.” I want people to experiment more, and the average teenager experiments more with their style, and that shouldn't stop when you’ve grown up. Style is a way to get creativity out there, and so don’t be afraid to try different things to emote your personality. And the film’s diversity in terms of age—there’s everyone from 12 years old to 70 represented—shows that style can be exploratory no matter where you are in your life. 

Can you give us hints about what we can expect to see in terms of costumes for the third To All the Boys film? 

I’m kinda sworn to secrecy, but if you’ve read the books, you can know what to expect in the next film. And from a costume perspective, the third movie is even more exciting. We have almost 65 to 66 costume changes in the next film. And Lara Jean’s closet grows, and her life changes even more as she travels and turns 18 years old. So her style evolution will be even more visible.

This post was originally published at an earlier date and has since been updated

Next: If Daphne Bridgerton Went Shopping in 2021, Here's Everything She'd Buy

In another universe, actress Da'Vine Joy Randolph and I are neighborhood friends. She and I are just about the same age, and her hometown is my dad's hometown. If he hadn't moved away from Philadelphia before I was born, I might have grown up around the corner from her in Mount Airy, where my grandmother and aunts and uncles and cousins all live now. In the world as we know it, though, Randolph and I haven't ever met; in fact, we've only ever had one phone call. She was driving around a parking garage in Los Angeles, and I was tucked away in a phone booth in my office in New York, but it was a call bursting at the seams with her enthusiasm for her craft; her relatable, down-to-earth perspective on Hollywood and fame; and how she wants to use her art for good. We crammed so much into that phone call that I felt as though I’d somehow found myself seated front-row in the Da’Vine Joy Randolph Master Class on Life. (She can talk, let me tell you.) Obviously, I took notes. 

Before we get into the juicy bits, a little background: Randolph is a Tony-nominated singer and actress who trained in opera and musical theater in undergrad and graduated with her masters from the Yale School of Drama in 2011. This year she was part of a hilarious ensemble cast in the Eddie Murphy–helmed Netflix remake of Dolemite Is My Name, the 1975 Rudy Ray Moore blaxploitation film, alongside Wesley Snipes, Keegan Michael-Key, Tituss Burgess, Snoop Dogg, and other stars.

The film chronicles Moore’s unlikely story, a lesson in perseverance. A wannabe musician who worked in a record store but couldn’t even get his own albums on the radio, he eventually became a Billboard-charting recording artist whose films were popular and influential in the black community. Some say he's the godfather of rap. Dolemite, the crime-fighting, kung fu pimp is the most well-known of Moore’s characters and has the best catchphrase I’ve ever heard in my life: "Dolemite is my name, and fucking motherfuckers up is my game.” Okay then, sir!

Randolph, meanwhile, plays Lady Reed, a comedian and singer welcomed into Moore’s inner circle, who eventually became a close confidant to him and went on to star in more of his films. According to Randolph, Lady Reed was a "woman’s woman,” and she was initially drawn to the character because of Reed’s love for fashion and her feminist bent. Reed was prone to "instructing women, in the early ’70s, of how to be independent and not be marginalized under the thumb of a man, especially in the bedroom,” Randolph says. Sounds like so many Instagram accounts these days, but back then it was nothing short of revolutionary. "That gave me a huge way in [to her character],” Randolph shares, "knowing this woman was larger than life in every sense of the word and really lived life out loud unapologetically.”

Lady Reed’s bold personality was matched in the film by the lush color palette Costume Director Ruth Carter chose for the character—standout yellow and green and purple, vibrant colors that bolster the character as she grows into her own from a jilted housewife to a strong black showstopper draped in jewel tones and not dulling her shine for anydamnbody. It’s enough to make you do a double take, and the critics are certainly taking note. Dolemite Is My Name is already raking in the award buzz: So far, nominations have come in for best comedy at the Golden Globes and the Critics' Choice Awards, and both the Costume Designers Guild Award and the Critics' Choice Awards have nominated Carter for her costume design work.

If you’ve somehow missed out on Da’Vine Joy Randolph in Ghost the Musical, Selfie, This Is Us, or Empire, among other projects, look out for her next in Hulu’s High Fidelity (alongside Zoë Kravitz) and Lee Daniels’s The United States Vs. Billie Holiday. But for now, read all about this inspiring actress and her role in Dolemite Is My Name below. 

How did you come to be involved with the project?

It was just an untitled, no-script audition. I had some sides. [Ed. note: Sides are script sections actors get for auditions.] I knew Craig Brewer was involved, and I had the breakdown of the character—that was it. That was my entry point. I didn’t know anything about Rudy Ray Moore and Lady Reed. I had been speaking with my father and confused it, and said, "Dad, I’m going in for Madame Red or Lady Red and Domino… What’s the name of that sugar company?” And my dad was like, "Dolemite and Lady Reed?!” And then he put me on the game. On Amazon Prime Video, they have a channel called Brown Sugar, a collection of vintage black cinema, and that was my resource. They had all of Rudy Ray Moore’s filmography, and I watched them all. There wasn’t any information, sadly enough, on Lady Reed.

Playing a real-life character is going to come with its own set of pressures. How did you tackle coming to Lady Reed and making your portrayal authentic but also your own?

Once I realized that there wasn’t any info on her, I was extremely dedicated to being authentic with what I did have. Her voice was really my way in. I would put her on surround sound all throughout the house and really just absorb her. You can tell a lot from a voice.

When Eddie Murphy’s character first meets Lady Reed in the film, he says he noticed her star potential because "some people walk around with their own little personal spotlight.” Have you ever felt that you had a spotlight on you?

Isn’t that beautiful? I really liked that. At a young age, I knew that I had the ability to sing, to communicate with people in a way that it caused and affected change. I knew that I was connecting with my voice to people, and that was unique. From there, I didn’t know. I knew I had a gift, but I can’t say my gift was always constantly fostered. It wasn’t. From my parents it was, but from my teachers and stuff like that it wasn’t—I mean, I was kicked out of opera school. Yes, I knew I had talent, but I did not coast in this world.

I really enjoyed how the film showcased going after your dreams—Rudy Roy Moore was not taking no for an answer, and I find that kind of self-assuredness very admirable. Can you relate to that focus?

Yes, absolutely. I really relate to this story. There have been a lot of nos and a lot of rejection in my life, so it is very meta, if you will. Now [due to Eddie Murphy's and Dolemite's success], I have the opportunity to have access. It’s a beautiful thing that in this situation, it’s one of few, if not the only, situations where I don’t have to fight my way through. It’s a really beautiful experience to just be welcomed with open arms and for people to be so kind and recognize my gifts and my talents. 

To be in this business, you have to believe enough to cut through all the drama and BS and the nos, everything. You’re too big, you’re too small, you’re too pretty, you’re too short—all of these things. To keep it up every day and take it up again in the face of constant rejection, it takes extreme laser focus in order to do something like that. That is not easy at all to do.

Confidence was a big theme in the film—confidence in your dream and in yourself. I saw that in Lady Reed’s glow-up. When did you start feeling more confident in yourself as an actor and a singer? Did education play a part in imbuing you with a certain confidence in your craft? 

Yes and no. I suffer from imposter syndrome. Even now as this film is getting the buzz it’s getting and myself getting the recognition that I’m getting… It’s quite overwhelming, and it’s a lot to take in. To me, this really is a job, and I absolutely put my all in it, but I’m not doing it in order to receive certain accolades or recognition or awards that are now being put into the conversation. I didn’t wake up wanting to be an actor. I know so many people who are as talented, if not more talented, than me who, due to the nature of the beast, people don’t even know about and some people will never know about. That’s just tragic. There’s a mix of luck and opportunity and talent and chance—all these things—that, in some sense, it’s not fair. 

I’ve grown confident due to having [certain] teachers instilling in me that I have a gift. Hearing the affirmations definitely helped to a certain point where I was like, Okay, all of these people can’t be wrong. The confidence grows with each role. [I went to Yale beacuse] I always wanted to have the tools to be able to play any role at all. For me it��s very important to be a transformative actor; the people I look up to and admire are transformative actors, so I keep the focus on the craft. 

In my work, I am confident that I am a talented actor, absolutely. Whether that will then manifest into more jobs or more recognition or awards… I don’t even think about that. The trick of the actor is creating balance and self-worth and continuing to dive in when you do not know if there is going to be a safety net to catch you.

I read that you went to camp at Interlochen! (I also went to a performing arts camp—shout-out to French Woods Festival.) Has anything from your time there stuck with you to this day?

Interlochen made me aware of my gift and the connections that you make in this art community and how important it is to have that in your life throughout your career, the ups and downs of a group of people who get it and support you earnestly without motives.

Actually, ironically enough, when I graduated from Yale, I was broke and couldn’t afford to have a place, and I did not know what I was going to do. I was in New York, and I just so happened to run into a camper and fellow student and friend from Interlochen who I hadn’t seen since—almost 10 years. I told him of my situation, and he said, "I don’t have much, but you can sleep in my closet.” He was a costume designer for Broadway shows and tours as well as RuPaul’s Drag Race. So for several months until I ended up booking Ghost the Musical, I was sleeping in a closet with wigs and butt pads and fake boobs. I made that closet and that La-Z-Boy my sanctuary. It wasn’t much, but I was so grateful. I am incredibly indebted to him as well as Interlochen for letting me have those connections because you just never know.

The legendary Ruth Carter did the wardrobe for the film. What was it like working with her?

She changed my life. I love her to pieces. When I first met her, I cried because I knew that I was going to be more than taken care of. She’s a game changer. She made me feel confident and feel like a woman and sexy in my own body and that I’m enough. Most of the things I wore were custom-made head to toe. I loved that purple outfit with the fur. I love the green outfit (above); the yellow outfit just makes you feel so sexy and effortless, and it’s super comfortable.

Honestly, this was the first production where I got excited when I could come to work and wonder What I am wearing today? I literally had a different outfit in every scene. I’ve never been in a situation like that. As a curvy girl, it is a struggle to find pieces and even to find people who are willing to work with you. To find someone who is creative and willing and loves fashion for fashion’s sake… She honestly gave me hope. I got super spoiled.

Some of the best comedians ever were on set here. How did the cast develop its rapport and bond? Could you guys get through a take without laughing?

Everyone was so excited to do this project. We knew as we were developing and creating this movie that it was something special. Of course, there was laughter everywhere constantly; we were enjoying ourselves and exploring these characters and seeing how and what we could pull out of them. It was a very positive breeding site for creativity and fun. We would be upset when we had days off, so we would often come to work and sit in Video Village and watch our peers work and learn and enjoy them and support them. 

Something that was so cool is that Eddie is known for being very loyal, so you had gaffers and the lighting guy and the sound guy who have been with him since the beginning of his career, and he brought them back and employed them. There was so much history [there], and it felt like home. 

You’re filming a new film right now, The United States Vs. Billie Holiday. What else is on the horizon? What would be a dream project?

I am in Montreal filming the Billie Holiday biopic. I play Rosalyn who is a real-life person and was Billie’s best friend—her longest childhood friend who stayed in her life. Outside of that, I’m starting to focus my attention on the right projects. I’m looking into doing passion pieces and putting them in progress. I’ve always been a historian and had a love for history, especially within the culture of people of color, in particular African Americans, so it’s crucial to me to illuminate these stories because, especially for kids now, it’s not being taught in schools. Unless someone tells them or shows them, how will they ever know?

I think my prayer and my wish is that my talent be the thing that breaks the borders, breaks the boundaries, switches the rules up. I am very aware that I am an African American female who is curvy, who is over size 10, so it is imperative to me that our television and our movies reflect the reality of our world—that’s what I’m desperately in pursuit of. For me, an action movie—a genuine action movie that is not comical or commenting on the actor’s size but where she is really kicking butt as a curvy girl—is so cool. I want to make history. I’m trying to use this exposure for good. It’s a very exciting time.

Dolemite Is My Name is now streaming on Netflix.

Here's the thing about politics: It's all one big performance. So, it's hard to believe that it took until 2019 for someone to create a captivating show that focuses so sharply on the behind-the-scenes machinations of creating a candidate in the modern era. Enter The Politician, the latest collaboration between Ryan Murphy, Ian Brennan, and Brad Falchuk (better known as the creators of Glee), which has been captivating viewers since it dropped on Netflix last week.

We were mesmerized by not only the incredible performances from Ben Platt, Lucy Boynton, and Gwyneth Paltrow but also the impeccable styling of each and every character. This key facet in the overall look and feel of The Politician can be attributed to its costume designer, Claire Parkinson. Although her IMDB credits go back to 2011, The Politician marks Claire's first foray into owning the costume design for an entire series, and we have to say, she definitely earned our vote. 

Below, check out Parkinson's takeover of the Who What Wear Instagram, in which she answered fan questions and shared sneak peeks on set, and the style tips we learned along the way. Regardless of whether you bleed blue or run red, we can all agree on one thing: We can't wait to see what Payton Hobart and his perfectly styled supporters are up to (and get dressed up in) for season two. 

Claire and her real-life sister/assistant, Lily, at the premiere of The Politician. 

Prioritize the Process

Mood-boarding is an essential part of the styling process and helps the actor to visualize their character before stepping on set. 

Q: Where did all the power suit inspo come from?

A: McAfee's style was inspired by David Bowie, Gloria Steinem, Katherine Hepburn, Mick Jagger, and many more!

Mood boards can also help inform your go-to brands for pulling looks based on the aesthetic trends that align with each character. 

Embrace Color and Power Suits

This matching oversize pink suit commands respect for all the right reasons. 

We feel Jackie O vibes radiating hard from the future first lady on the show, Alice. 

Payton's vibrant wardrobe proves that you can be a serious candidate without forgoing playful pops of color.

Accessorize Effectively

The contrast between Astrid's and Alice's styles makes it hard to believe they'll ever agree on anything. 

When it comes to politics, it helps to have a clear and concise platform. This "tennis" outfit is pretty straight forward, and we like that for Astrid. 

Embrace Androgyny

It was inspiring to see such strong fashion statements for all body types and identities, proving that modern-day politics don't have to be quite so binary. 

Skye is probably the best dressed of the whole lot—and that's saying something! We love her on-trend jumpsuits, accessories, and ambition.

Use IRL Inspiration

Q: Who as per you is the best-dressed politician?

A: Speaker of the House Nancy Pelosi always looks so chic! And we like how Senator Kamala Harris pairs her suits with smart sneakers when she's on the campaign trail.

If the environment is top of mind for you, there are more and more ways to shop sustainably. Here are some of our favorite tips and tricks for cutting down on your carbon footprint when it comes to shopping. 

Huge thanks to Parkinson for sharing her styling strategies with us. We can't wait to see what she has in store for season two!

For more fun takeovers with your favorite stylists, follow @WhoWhatWear on Instagram. 

I'm not sure exactly what your summer 2019 vacation plans entail, but I have to assume that come July 4, you'll be doing one thing and one thing only… binge-watching Stranger Things Season 3 the very second it hits Netflix. If there's a ring of truth to this not-so-bold prediction, I also assume you'd appreciate corresponding wardrobe options to fully cement your status as an honorary resident of Hawkins, Indiana. That's where H&M comes in. The retailer is dropping an exclusive 15-piece Stranger Things–inspired collection (featuring a campaign starring Dacre Montgomery, aka Billy Hargrove) in time for both the new season and your Fourth of July barbecue, packed with the on-trend '80s-vibe pieces S/S 19 is all about. Happy scrolling (and happy shopping)…

Shop Our Favorite Souvenirs From Hawkins, Indiana…