As predictable as it may sound, my interest in fashion was provoked by my mother’s sense of style and understanding of clothes. She encouraged any creativity and supported all choices, which, based on my early decisions, was brave. I have always been visually minded, and for some reason I was really fixated on the fact that I wanted to work in the fashion industry, I always have been. I started with internships, getting to know all aspects of the industry rather than just one sector, as well as working in retail.
I was really lucky when it came to internships and my early jobs. I worked for some pretty impressive women: Katy England and Sidonie Barton at McQueen, photographer Corinne Day, writer Camilla Morton and stylist Katie Grand. All completely different but fantastic, each and every one taught me a huge amount and I value that hugely. I always felt that to stand out as an intern, the most important thing was to make everyone aware you were available to help with anything and everything no matter how overwhelming. That you want to learn, but more importantly that you want to learn from them. I chose my internships for a reason; I really wanted to work with those particular people. Essentially enthusiasm is key, a true interest in fashion, its roots, what it can do and where it can go as well as the ability to work extremely hard and still have fun!
I was at Browns for five years. My role there was really interesting. As well as being an extraordinary place to work, with the most talented staff members, brownsfashion.com was one of the first bricks and mortar stores to venture into e-commerce. Therefore my role evolved as digital grew, allowing me to learn a vast amount very quickly – it was exciting to be in it at the beginning. It was also hugely varied. When I joined there were only three of us on the creative team, which meant I was coming up with the concepts for the features as well as writing them, styling the product and shoots, working on social media, and overseeing the graphic design. By the time I left there were nearly 10 people in the department; editorial shoots were becoming a regular feature and creatively it was really moving forward. All of the above made it a hard decision to leave Browns – it has such a fantastic reputation – but I do think it’s important to push yourself to try new things and mywardrobe.com offered me the opportunity to do something different.
Working freelance is an extremely unique position to be in: you have to fight hard to get a job, you’re always up against other incredibly talented people, and you have to be consistently ahead of the game, not to mention managing your own time! The benefit of being a freelancer is the freedom, but I went into full time employment because I work better with structure and routine. Most of all, what keeps me in an office environment is working with a team. I need to bounce off people. You may have that initial concept, but input from people who understand you and what you are hoping to achieve only makes the idea ten times better. Working with talented people is the most rewarding and satisfying part of my job.
My role at Avenue 32 is extremely varied; no one-day is ever the same. As the Creative and Editorial Director I can be working on the concept and art direction for one of our shoots, planning set designs with our fashion assistant or going through layouts for our magazine with the graphic designers, editing text with the features editor and coming up with new article ideas or planning the editorial calendar. I think styling has helped me hugely because it allows you to look at the bigger picture and be open-minded. I am also massively into detail; it drives everyone mad! That doesn’t just mean the folds on a shirt while dressing a model, but the structure of an article or the position of imagery in a newsletter. Everything has to work to make the puzzle fit.
The editorial content is there primarily to support the brands that we stock at Avenue 32 and to set the company apart in terms of style, tone and overall aesthetic. It’s important that through our editorial – be it a shoot, interview, film or article – the customer understands the brands they are buying into. They should get a sense of the particular collection they are interested in, as well as an insight into the world of that designer, their concept, and the process it took to reach the final result. The editorial content is also there to inspire, to make you covet the product and take you into a different world while doing so. What I really hope is that Avenue 32 is a space that captures the attention of our customers, that makes them feel something and enjoy a shopping experience that is more than just clicking a button. If you can keep someone interested, or coming back for more then in my eyes, that’s a job well done.
We are extremely lucky at Avenue. We have incredible designers that allow us to be really creative with our content, which in turn, keeps our customers engaged and interested in finding out more. When it comes to our articles, we are always researching and thinking about how we can bring something different to the table whether it be a layout, through animation, the concept of an article, or how we use our imagery. It’s important to have a signature style that is recognizably Avenue 32 but one that stays relevant and evolves with the customer and their needs.
Digital is extraordinary; its constant ability to evolve and push things forward is what makes it so special. Print will always be around – there is no better way to showcase an editorial image – but with digital there are no limitations. Particularly within retail, the ability to make a product on a screen connect with the customer, be it through editorial, moving image or through sound is second to none. It’s a new and revolutionary way of shopping that is still breaking boundaries. There are similarities and differences working as an editor for an online platform compared to print., one of the differences being that we change a large amount of content week on week, have ridiculously tight turn arounds and things can always be updated even when live. It’s deadline, after deadline after deadline. What draws me to digital is that it’s constantly evolving and changing in new ways. Every day is different and that is something that is truly exciting. Print – I think for everyone – still holds huge kudos: the imagery, words and overall creativity that is placed on a page today always takes my breath away.
There are so many things I’m excited about in fashion right now. We have so many really interesting brands at Avenue 32 and I am really fortunate to be able to work with them in our shoots and features. I am particularly excited about jewellery designer Charlotte Chesnais – her pieces are incredible – clean but impactful. Coperni is also at the top of my list; all the pieces are so considered, conceptual but still wearable. Thomas Tait sends me into a total spin too. I think his collection for fall is intelligent, current and brilliantly put together. BIG things are going to come from him.
Fashion week is really important for us – we move out of pre-fall and all of our main AW collections are delivered, which means we have to generate fantastic content to support the brands. We are known as a company that finds exciting new designers that people haven’t necessarily heard of yet, therefore content-rich articles are vital to give our customer a unique insight into the brands. We prepare our fashion week features fairly far in advance, as they are one of the biggest in terms of research, scoping, visual imagery, and design so the team will get stuck in months before. During fashion week editorial is out in full force. For me, it is about taking in every detail at the shows, the collections, hair & make up, street style, trends, anything that will contribute to developing the editorial content for the coming season. As a whole, the team have a hectic schedule – from interviews, to street style, film and covering our social media handles. It works like clockwork. Whatsapp groups are our saviour, not only in terms of organization but also hilarity to get us through long days.
If I didn’t have to sleep during fashion month and could still run at full force, my life would be a lot easier. There just isn’t enough time in a day! We are running to shows, editing images, uploading text, making sure everyone is in the right place at the right time, as well as ensuring the schedule for the website is running as normal. Wardrobe planning definitely takes a back seat. I tend to keep my style the same. Essentially it’s about comfort but like anyone, the opportunity to showcase your favourite brands always wins. JW Anderson is my fail safe, along with Isa Arfen, 1205 for beautiful shapes and fabrics, Céline, Stella McCartney and Dries. This season I was in top to toe in Coperni; it is one of my favourite collections. Cool, effortless and slightly mind bending – the perfect combination. That and this amazing new beauty brand that a make up artist friend recommended to me, called Odylique. One spritz of their calming rose super tonic and I can face anything.
I have always been a huge fan of Céline; otherwise Stella McCartney, Marni and Dries Van Noten are firm favourites. The latter two contradict the clean lines that I love, but the artistry always blows me away. The Dries exhibition in Paris last year was so beautiful. I spent an unnervingly long time in there. I think overall, my style doesn’t differ hugely. Tailoring and sportswear will pretty much always feature. It’s boyish in style, but there is always a softness, be it a fabric or sense of fluidity. Over all, comfort is key! What has become more important to me over the years is fabric and cut; where I used to be flippant with my purchases in the past, now I always lean towards something that I know is going to last. I think dressing in general improves with age. I have reached a point where I know what I like, I know what suits me, and I know what doesn’t. I don’t have enough time or brain space to follow trends too exactly, but if I am particularly into something that’s happening, then a little detail will always appear in some way. That doesn’t mean to say that I don’t still experiment though – if something completely different to my everyday style catches my eye, it’s on me in a flash. You have to go with your gut. Trend wise, I’m really pleased that the Wes Anderson effect is starting to take hold. The two-piece trend is always prevalent and so wearable; there is also a definite hint of the eighties, which I am seriously into. And the fact that grey is making a big return makes me happy too; it’s the best shade!
There are so many things in my wardrobe I couldn’t live without but a cashmere jumper is essential. I get the most amazing second hand ones from a really special guy in Portobello Market. Without doubt, my most cherished piece though is a YSL tuxedo blazer that I ‘borrowed’ from my mum. She’s always been a big inspiration for my style. Otherwise, I love Lauren Hutton, Charlotte Rampling and Chrissie Hynde – there are so many great style icons.
I am a huge fan of work wear; my style is fairly minimalist and definitely boyish so it suits the aesthetic. The key to making work wear effortless is to make it that little bit different. The joy of it is that its simplicity leaves it open to interpretation, but it should never be bland and should absolutely be based on mood. My colour palette is particularly understated; black, navy, grey and white, so there needs to be considered details that will make people look twice. When you think about the fabrics, cut and layers, you can make what would ordinarily be considered staid actually really interesting. I wear a lot of 1205, Stella McCartney and Dries. Lanvin does some fantastic trousers and I often mix a nineties Max Mara loose line blazer with a men’s shirt, silk pants and trainers. Always trainers.
On weekends, I work with my mum selling vintage and antiques, which is always interesting. Collecting is definitely something I’ve inherited: my family has always been interested in antiques and collection: vintage fashion, old medical equipment and manuals, beetles – it varies all the time. My love of vintage fashion was just another off shoot from that. I have been collecting fashion since I was about 16 at car boot sales and charity shops. I became more specific with regards to what I was after in my twenties and went at it full throttle so have now accumulated a big collection, some of it not perfect but that makes it all the more alluring. What’s really unique about vintage is that it’s a very tight-knit community – everyone is in it together and looking out for one another. You get noticed for your individual style; every dealer always has a slightly different collection of pieces. So customers, be it designers, theatre companies or the general public, recognize you for that. My favourite hot spots are all deep in the French countryside, never to be revealed! ! In all honesty, great vintage can be found anywhere, even at your local charity shop. It’s just about keeping your eyes open. Always.
Finding gems is something I’ve learnt over the years. You can definitely make mistakes so I suppose to some degree it is a skill. Essentially though, when buying vintage, it’s a very emotive experience. You see something, it pulls you, you check it out, you bargain hard and you take it. For me, there is no bigger thrill. There is never really a right or wrong because it’s so personal. I buy a particular style of vintage, so I know immediately what I am after. Always look for a good label and look at the seams: you can tell immediately whether it is a modern copy or the real deal.
If you’re toying with the idea of collecting, my only advice would be to believe in what you like; it’s all from the gut. It’s a different shopping experience to buying in a store as it’s generally in a market, at a car boot sale or a vintage fair. Haggling always comes into it and you have to make a pretty quick decision, as there is no walking off and thinking about it. I have done that too many times and missed out on the most amazing pieces. It makes it easier if you have a vague idea of what you are after. Never be too specific though. It will be like searching for the Holy Grail.
Switching off is probably my biggest failure. It’s difficult, there is always something to think about, something new to discover and translate into content. Having said that, getting down time is really important. I read a huge amount; the library is without doubt my favourite place and I am always dragging people to exhibitions or around gardens when all they really want to do on a Sunday is chill. I really value time spent outdoors as such a lot of my time is spent in front of my computer. Travel is hugely important to me too and just spending time with people I don’t get to see enough!
Photographs by Dvora with art direction by Naomi Mdudu. This interview has been edited and condensed.