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2018 Festival Fashion: Denim Shorts Styled Four Ways by Different Models


Now that we’ve officially entered festival season (Coachella and Stagecoach, check and check) and are approaching summer, it’s time to revisit some of those clothing items that come back in your closet with the warm weather. We’re talking, specifically, about denim shorts: They’re impervious to the trend cycle and have likely been a part of your wardrobe for years—and yet they can still stump you when it comes to the styling. Do you just do the whole white T-shirt thing and call it a day, or do you go for a bustier? Should you go for a nineties vibe, or look to the aughts for inspiration?

Sometimes it helps to poll the experts—or some of the folks who wear cutoffs best. So, at a poolside brunch hosted by Levi’s during the first weekend of Coachella, we asked four of the most stylish models in the business the question everyone in attendance probably asked themselves that morning as they got dressed: How should I style a classic pair of denim shorts, now that it’s finally shorts season? And Bella Hadid, Joan Smalls, Hailey Baldwin, and Romee Strijd answered. Check out their tips—and answers inspired by them—ahead.

Levi’s paid for the writer’s travel and accommodations for the purposes of writing this story.

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H&M is Introducing a Modest Fashion Line for Spring


H&M is joining brands like Nike, American Eagle, and Macy’s and introducing its own collection catering to the modest shopper.

Launching exclusively online on May 3 (with a second drop slated for May 24), LTD Collection is H&M’s first designed expressly with modest fashion in mind. The line is heavy on embroidered, flowy pieces such as coordinating tunic-and-trouser sets and kaftan dresses with shimmery details, all with long sleeves and hems.

Pernilla Wohlfahrt, Head of Design at H&M, tells Glamour that customer interest in modest dressing had increased in recent years, leading the brand to formally launch a collection dedicated to this consumer: “Today, H&M is present in 69 markets and we want to be diverse and inclusive to all the markets where we operate. We want to be able to offer something for everyone.”

PHOTO: H&M

A look from H&M’s LTD Collection.

LTD Collection is an exclusive collection for spring—hence, the name “limited.” Women’s apparel prices range from $59.99 to $129; accessories will run from $34.99 to $49.99.

Modest dressing isn’t entirely new territory for the company. Back in 2015, H&M introduced a campaign starring Mariah Idrissi, a Muslim woman wearing a hijab—a first for the brand, and a move that drew a lot of attention. Plus, “we have had modest options in the range in the past and decided for spring to bring together these items under one cohesive collection, for customers interested in modest fashion to easily find and shop these items,” Wohlfahrt adds.

PHOTO: H&M

A look from H&M’s LTD Collection.

LTD Collection “[isn’t] necessarily about building on a previous campaign, but more about offering a wide range of styles and choices to a global fashion community,” she says. “We have seen a growing interest in modest fashion in general for a long time, and wanted to create this collection as an option to our customers that are interested in modest dressing.”

While the line is certain to attract customers who dress modestly for all occasions, Wohlfahrt says that LTD Collection is a viable option for any shopper looking for pieces that fuse conservative silhouettes with H&M’s trend-driven aesthetic. “The intention with this collection is to offer fashion for everyone,” Wohlfahrt asserts, “no matter what their personal style.”

Check out looks from H&M’s spring LTD Collection, below.

PHOTO: H&M

A look from H&M’s LTD Collection.

PHOTO: H&M

A look from H&M’s LTD Collection.

PHOTO: H&M

A look from H&M’s LTD Collection.

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Sustainable Fashion: Ethical Writers & Creatives Is Working to Make the Influencer Industry More Ethical


Among the friends, family, and celebrities that you follow on Instagram, there’s a chance you probably also keep up with at least one influencer, whether it’s Chiara Ferragni or Grumpy Cat. Just a decade ago, “having influence” wasn’t a viable or lucrative conceit—now, “influencer” is a job title in nearly every field, with some raking in millions of dollars in revenue. (The market as a whole is set to reach up to $10 billion by 2020, according to mediakix.) Within this ever-growing, ever-changing market, there also have been growing niches, bloggers and social media stars focusing on specific topics or lifestyles. The sustainability community has been one of the most noticeable ones—and one that’s banding together to effect lasting change on this burgeoning industry.

“Blogging can be a really isolating experience,” remarks eco fashion blogger and journalist Alden Wicker (also a Glamour.com contributor). That’s why, four years ago, she rounded up the very few bloggers in the fashion sustainability space to create a small network of like-minded women—one that would grow to be 60 members strong, and called the Ethical Writers & Creatives (EWC).

EWC is driven by two admirable goals: to improve the world with their work and to raise standards in the influencer industry. This sector has become something like the Wild West, with no clear-cut rules or guidelines to establish order and ethical conduct (despite the Federal Trade Commission’s best efforts), to prevent people from falsifying images or manipulating data, like follower count—but, united by a shared passion for sustainability and ethical responsibility, this group is trying to combat these practices and to push the community toward more sustainable practices.

EWC does this through meaningful content and reported features (membership at EWC grants you access to resources, like educational workshops and a group Slack channel to ask questions, to write such stories), refusing to take information at face value and questioning everything you’re told even widely-accepted truths (such as the widely-quoted “fact” that fashion is considered the second most polluting industry, which Wicker debunked on her website, EcoCult.) It also instituted a code of ethics that all members must abide by.

“In the mainstream influencer space, there’s a lot of frustration around the lack of standards and rules, like follower- and like-buying, photoshopping, and overall inauthenticity that can make it feel really icky to call yourself an influencer or blogger,” says Wicker, who serves as the president and COO of EWC. “We’ve become the gold standard for ethical and sustainable blogging.”

PHOTO: Courtesy of Ethical Writers & Creatives.

Members of Ethical Writers & Creatives, from left: Alden Wicker, Faye lessler, Kestrel Jenkins, and Elizabeth Stillwell.

“The sustainable fashion industry is evolving so fast, but you can’t manage what you don’t measure,” she continues. “There is so much misinformation out there and because we spread information really fast, it’s important everyone is doing it correctly. The articles we write are incredibly smart, well informed, and educational—much more than the average blogger.”

But EWC isn’t only attractive to influencers: It’s bringing in sustainable brands who want to work with them, too.

There have been between 20 to 30 brand partnerships that have been established through EWC in the past two years, according to the group’s marketing director Kaméa Chayne (who’s the curator of ConsciousFashion.co and host of the Green Dreamer podcast), with companies like Delgatto, GrunBag, Jean Franklin, and Threads Worldwide.

One of the biggest projects EWC has worked on has been with DoneGood, a Chrome extension and app that directs consumers toward mission-driven brands, the platform was promoted across multiple influencers’ sites during a two-month-long campaign.

“If you’re in the sustainability space, you can’t help but know about the EWC,” says Cullen Schwarz, co-founder of DoneGood. “EWC has assembled the leaders of the ethical influencer community, making it easy to work with all of them collectively to make a much larger impact.”

With EWC working as a liaison between the brands and influencers, a lot of the guesswork—like figuring out how much to price paid campaigns or sponsored posts—is taken out of the equation. More importantly, the group unifies all members under one pay scale, so that no one is over- or undercharging brands, making it a win-win on both sides. “These small brands know we’re not scamming them out of their money,” Wicker explains, “and on the creative side, they know they’re going to be paid for the work they do.”

PHOTO: Courtesy of Ethical Writers & Creatives.

Current and former members of Ethical Writers & Creatives at the group’s launch event in 2014. From left: Alden Wicker, Emma Grady, Juliette Donatelli, Elizabeth Stilwell.

“This group of knowledgeable women mentored me, and gave me a greater ethical awareness and eco understanding,” says Holly Rose of Leotie Lovely and social media manager for EWC, who joined in 2015. “I’m not really sure what would have happened to me had this group not existed.”

Still, in terms of “improving the world,” particularly in terms of sustainability, there’s a lot that needs to be done. That concept means different things to different people—and for some, it’s become a catch-all word for anything remotely eco- or socially responsible, from supporting local artisans to living a zero-waste lifestyle to veganism. (Differentiating all the companies that market themselves as “sustainable” is something the fashion industry as a whole struggles with as well.)

“Sometimes there’s tension between members about what it means to be ethical and sustainable, especially between those who are vegan and not vegan, but when I sense tension, that’s when I step in,” Wicker says. “We might disagree on how we’re going to get there—a better world, a better fashion industry—but we have to remember we’re all here because we care so deeply about these issues.”

As of now, the EWC is effecting change by holding larger brands accountable, calling out brands that aren’t transparent, shedding light on how toxic some biodegradable fabrics can be, spotlighting small sustainable brands, writing smart posts that addressing hard—or in Rose’s words, “not sexy”—subjects like green energy or policy. They’re working to educate readers-slash-consumers who can then make informed choices with their purchasing power.

“The ethical and sustainable fashion movement is so new—it really started in 2013 with the collapse of Rana Plaza, so a lot of us are just writing, watching, and trying to figure out how to best support the movement,” Wicker says. “Many of us aren’t really sure what’s next; we’re trying to figure that out.”

Natalie Kay, founder of the blog Sustainably Chic who joined the EWC two years ago, says long-term change will begin when bigger brands are onboard with the movement: “We can make baby steps, but to get to the masses, companies like Target need to step up to make sustainability more accessible. We need to market to everybody and find a fair price point.”

Each member of EWC might have a slightly different vision or approach to making the industry more sustainable, but they all share the same end goal: “Our motto is collaboration over competition, so we provide a space where we can support each other,” Wicker says. “I never expected the EWC to be this big or important to people, but it’s been an amazing ride and I love every single member.”

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How Young Hollywood Is Changing Red Carpet Fashion


Red carpet coverage handing out superlatives like “best dressed,” “chicest” and most “fun” have made a surprising turn in recent years: Where the highest honors once went to the expected marquee Hollywood talent—Nicole Kidman, Blake Lively, and Lupita Nyong’o among them—they’re now being bestowed upon a new generation. Specifically, the teens and Generation Z-ers taking over the industry.

Think about it: When was the last time 18-year-old Yara Shahidi or Millie Bobby Brown, 14, walked a red carpet and didn’t end up on a “best dressed” roundup? Young actors have been elevated to the status of style icons, with brands like Chanel, Louis Vuitton, and Gucci helping them shape their public personas in phenomenal, often custom, pieces.

For the stylists responsible for facilitating these partnerships and shaping their red carpet presence, the work isn’t that different than with their adult clients.

“Everybody wants to feel gorgeous and relevant and super-modern,” says Jason Bolden, a stylist whose roster includes Shahidi, and actresses Storm Reid, 14, and Sabrina Carpenter, 18.

PHOTO: Getty Images

“Everybody already looks at Yara [Shahidi] as a fashion icon in her own right,” says Bolden. She’s always in custom, but then at the same time, always in sneakers.” He adds: “I always say to her, ‘You’re an alien—everything you put on just makes sense.’”

“My main thing when we’re putting looks together is that I want the clients to feel comfortable,” agrees Molly Dickson, whose clients range from Thirteen Reasons Why star Katherine Langford, 21, and Stranger Things’ Sadie Sink, 16, to Molly Ringwald and Jenna Fischer. “We might put on a dress and it might be amazing, but if they’re not comfortable in it it’s not even worth it.”

There are a few additional considerations when dressing stars who are 18 and under. For instance, Sink is steered away from looks that are too revealing or impractical for someone her age, Dickson says. (“She’s sixteen years old and she’s never really worn high heels, so finding the perfect height of heel has been the biggest challenge,” the stylist notes.)

PHOTO: Getty Images

“Her personal style is super mature and edgy and cool,” Dickson says of Sadie Sink. “The Chanel that she wore [to the 2018 SAG Awards] took my breath away.”

When picking out pieces for A Wrinkle in Time star Reid, Bolden was hyper-aware of the accessibility factor, purposefully dressing her in clothing that’s available at department stores: “Storm [wore] a Thom Browne suit, and then she wore a pair of white Air Force Ones, which anyone can do,” he recalls. “What 14-year-old girl you know is walking around in a suit and heels all day? That’s not realistic.”

Even for the oldest members of Hollywood’s up-and-coming class, conversations about staying age-appropriate arise. Such was the case with Langford’s custom Prada gown for the 2018 Golden Globes, which featured a deep plunge: “It was almost a two-hour conversation between her, her publicist, and I, trying to figure out, ‘will she be comfortable with the lower neckline in the front?,’ because Katherine hasn’t really done anything that low before,” Dickson explains.

PHOTO: Getty Images

“I like to see Katherine [Langford] as a timeless beauty, and I like to make her dress in that way,” says Dickson, noting how the actress has been working with Prada and Stella McCartney on custom designs.

Dickson adds that erring on the conservative side distinguishes Langford from other Gen-Z stars who wear “cut-outs and crop tops.” “We don’t ever put her in anything super, super revealing.”

Beyond appearing age-appropriate, there’s also career-building to think about. The red carpet is an essential platform for elevating one’s profile, especially early in an entertainer’s career. By aligning a young face with a distinct aesthetic and reputable designers, fashion can maintain—and in many cases, advance —a young star’s reputation after a breakout role.

“It’s all kind of shaping someone’s style, but also it’s shaping their image,” stylist Chris Horan says of working with his young clients, like actresses Rowan Blanchard, 16, and Maddie Ziegler, 15. Fashion, he adds, “creates the momentum that’s needed to make your career take off.”

PHOTO: Getty Images

“Maddie [Ziegler] loves Marc Jacobs—it’s great on her and I feel like it just ends up fitting well,” says Horan. “It’s still youthful and fashion forward.”

Often, one memorable red carpet look is all it takes to boost a young star’s image, but the source must be an esteemed designer for the influence to last. When Dickson arranged for Sink to wear Chanel to the Stranger Things season two premiere, it immediately sparked interest from other designers, she says: “I think when you put someone in a high-end designer that’s very well respected in the fashion industry, a lot of the younger designers will see that, and they also will want to hop on board.”

It’s not always easy to wrangle those samples, though. For some stylists, it might take some persuasion to convince brands that their client could wear the brand well, especially if their first credits aren’t deemed “adult-friendly” or awards-season bait; Bolden and Law Roach, whose clients include Zendaya, previously mentioned that “big brands” hesitated to lend their young clients samples in a roundtable for The Hollywood Reporter.

“Especially with these young girls, I think they’re put into kind of boxes,” explains Horan. “[W]ith Rowan, we had a lot of pushback for a long time because of her age and obviously the show, or the network she was on.” (Blanchard first became known for her work on Disney Channel’s Girl Meets World.)

PHOTO: Getty Images

“I feel like at the beginning [Rowan Blanchard and I] were using a lot of emerging UK designers—now, we’re leaning more toward feminine pieces,” notes Horan. “Rowan’s Gucci show look was one of my favorite ones that we’ve done in a long time. I feel like it’s that perfect example of where she is now: sixteen going on seventeen, a fun and young teenager but a little bit elevated.”

Across the board, high fashion can convince the public to take young celebrities seriously—and a stylist can be instrumental in shepherding them towards the next phase of their career.

Bolden started working with Carpenter (another Girl Meets World alum) in the fall of 2017, right after she had left the Disney Channel and started to pursue music. They had what Bolden describes as a style breakthrough in November, at the 2017 Billboard Music Awards, when the 18-year-old arrived in a bright-pink, caped Céline dress. “When it came to the follow-up questions the next day, my other stylist friends were calling me like, ‘Holy shit! Sabrina in Céline? That was amazing!’,” he recalls.

Because they’re so young, so much of these celebrities’ fashion is experimental: They’re figuring out what they like, what suits them best, and what that looks like on a very public platform. They’re also not afraid to speak up, and use their wardrobe as a means of conveying their stance on a variety of issues. This is a generation that has come up on social media, after all—and many of these stars have already used their massive followings to talk politics, social justice, and more.

PHOTO: Getty Images

“The first time I worked with her, she literally just let me do my thing,” remembers Bolden of Sabrina Carpenter. “Her first look was Loewe, which is like a really, really tough brand—she trusted me, and we wore Loewe.”

At times, the intersection of fashion and personal values is immediately apparent. There was Millie Bobby Brown’s tribute to the Parkland school shooting victims at the 2018 Kids’ Choice Awards via a custom Calvin Klein look. Yara Shahidi wore a Prada skirt printed with an homage to Angela Davis as “a reminder of the work we have to do to de-criminalize public perception of black and brown bodies” to Deadline’s The Contenders event in April. On many occasions, you’ll see these young stars align themselves with certain fashion brands because of their beliefs—and will give them a silent endorsement by wearing them on the red carpet.

“[W]hen it comes to Yara, we look for what the brand stands for as well—it has to speak to her and what she stands for,” Bolden says. “It’s very impactful when she does wear a really big fashion brand because people can kind of look at it as like oh, okay. We know exactly where this stands.”

Another example: While doing press in Los Angeles earlier this year, Sink wore Hiraeth, a new vegan clothing line by Rooney Mara—something Dickson picked out because it “was a great fit, [since] Sadie’s vegan and I’ve always admired Rooney’s style.” After the red carpet wrapped, the actress took to Instagram to share Hiraeth’s ethos and values.

PHOTO: Getty Images

“This was a really big year for her,” explains Bolden of Storm Reid. “It’s about creating these beautiful, relatable experiences that like speak larger than just the brand or the credit.” The stylist adds that, throughout the press tour for A Wrinkle in Time, Reid repeated three or four shoe styles: “That’s realistic.”

The ultimate goal for these stylists isn’t a prestigious credit or an overnight success story. “It’s about building this beautiful amount of work,” Bolden says, “and not trying to come directly out the gate with this huge range of major designers.” He points to the A Wrinkle in Time press tour as an example: He intentionally saved the most jaw-dropping, extravagant look—a custom pink Prada dress with an open back—for the very last stop, “so it was a proper build-up.”

“I think that fashion’s a way for [clients] to brand themselves as a person, that they’re not one-dimensional,” Horan concludes. “That really helps as they’re trying to get more serious roles—it gets eyes on you to view you in a different way.”





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Sinéad Burke on Why the Fashion Industry Needs More Empathy For Disabled Customers


For most women, shopping is an activity that hardly requires a second thought: You enter a store or go online, you see what you like, you check out, and you leave. For Sinéad Burke, an academic and fashion writer based in Dublin, Ireland, it’s not that simple.

Burke has achondroplasia, a form of dwarfism shared by between 1 in 15,000 to 40,000 people worldwide. She describes a hypothetical trip to the mall as an ultimately discomforting experience: Standing at three feet, five inches tall, she can’t reach many of the racks where clothes are held without assistance—and when it comes time to try something on, she’s not strong enough to pull the changing room door or curtain closed on her own. (Even then, there aren’t often garments tailored to her proportions in mass brands’ stores to begin with.)

“My experience—and my independence—within that experience, is either based on you helping me or getting assistance from those who work in the shop,” Burke tells Glamour at the Savannah College of Art and Design’s annual SCADstyle conference in April, where she was speaking. “But that takes a huge amount of emotional labor for me as an individual, because I have to deliberately make myself vulnerable. It’s that lack of empathy that’s within the process that disables me and further limits my independence.”

PHOTO: John Phillips

Sinéad Burke at the Business of Fashion Voices conference last fall.

The lack of accessible spaces for people like Burke in clothing stores, as well as other venues, were among the topics she discussed in her popular March 2017 Ted Talk, “Why Design Should Include Everyone.” The presentation, during which Burke describes how disabilities are overlooked in design processes from architecture to fashion, has racked up over 1.2 million views since its publication. Though Burke had established a presence online with her fashion and culture blog, Minnie Mélange, her TedTalk catapulted her to international acclaim as an advocate for inclusive fashion and design: She has since delivered a keynote on fashion and inclusion at the Business of Fashion Voices conference (in November 2017) and was the sole female delegate to represent Ireland at the World Economic Forum in Davos in January 2018.

Fashion is essential to Burke: Its communicative powers take on additional meaning in a world that’s quick to pass judgment on her appearance. She also has a lot of fun with it—if you follow her on Instagram, you know she loves to showcase a good look, wearing pieces by Burberry and Delpozo to speaking engagements.

“For me, fashion is not just about buying into a notion or buying something that’s beautiful,” she says. “It’s about confidence and empowerment, but it also facilitates me having to explain myself.”

Burke sees clothing as a tool for combating stranger’s assumptions and biases about her disability: “[S]ometimes, I have to explain that I am older than people think I am, that I am perhaps more sophisticated than people might think I am,” she says, “and when I am dressed the way in which I want to be, I don’t have to explain that.”

In recent years, we’ve seen some brands step up to address the gaping hole in the adaptive clothing market. But Burke takes issue with the function-first approach of many of these collections—”because whilst I want coats to be functional and shoes to be functional, I also want them to be beautiful,” she argues, “and often we forget about those principles about beauty when we are designing for disability. We solely focus on the impairment and making things better.”

Burke says that expanding the current offerings at well-known, established brands to be adaptive is essential to giving customers like her the beautiful garments they deserve. She notes how she’s been approached, “very kindly” by people asking if she’d develop her own fashion line, but she replies: “I’m not a designer. [Creating my own brand] abdicates the responsibility from the fashion industry for providing for me as a customer.”

Burke emphasizes how her disability has no bearing on her sense of style: She’s an adult woman, and she wants access to luxury brands just like everyone else. “As much as we would like to think that we’re not egotistical in our aspiration to have Louis Vuitton or Prada or be embellished by labels, that is part of what we buy into: that history and that legitimacy of the fashion industry,” she says. “We need to step away from this idea that we can create a collection or a line for disabled people, and then create it for everybody else, because it’s further othering the population and segregating us.”

Last fall, Burke gave the keynote address at the 2017 Business of Fashion Voices conference—and she did so outfitted in Burberry. The brand made her a custom trench coat with an asymmetric hem; she gave some input in the design, and Burberry made a few alterations to its existing pattern during fittings. It was a memorable moment for inclusive fashion, in Burke’s experience: “For me, that process was about building a two-way communication system between me and a very heritage, established brand for something as simple as the trench coat,” she remembers. “The question about coming from that dialogue was: How can that insight from me as a disabled consumer impact the design process for ready-to-wear for everybody?”

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PHOTO: John Phillips

Burke wearing her custom Burberry coat at the Business of Fashion Voices conference.

True inclusivity, Burke says, comes down to having representation at all levels of the conversation in fashion, from the C-suite executive level at luxury brands down to retail employees. “It’s just about being more empathetic, as trite as that sounds—and in a very busy world, taking that time to think of others and constantly saying, ‘Who is not being accommodated for? And how can I use my power and privilege to bridge that gap?’,” Burke says. “I think for the process to be holistic, the disabled voice has to be participatory from the very beginning.”

The Savannah College of Art and Design paid for the writer’s travel and accommodations for the purposes of writing this story.

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How Fashion Brands Can—and Should—Address Shoppers With Disabilities

I’m a Woman in a Wheelchair—and I’m Tired of Not Seeing Anyone Like Me on TV

My Disability Made Me Dread Going to Weddings Alone. It Shouldn’t Have.





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There Were Plenty of Royal Wedding References at Spring 2019 Bridal Fashion Week


The countdown for the royal wedding is nearing its end, and the identity of the designer who will create Meghan Markle‘s wedding gown remains a case for the FBI. We know traditional style rules are not Markle’s thing—and regardless of what brand gets the ultimate honor, you can pretty much expect her dress to inspire plenty of bridal trends in the near future.

Even without any leads or sketches to work off of, designers at New York’s Bridal Fashion Week clearly had the royal wedding at the forefront of their collective consciousness: Regal details, dresses inspired by palaces, and a whole lot of tiaras made their way down the Spring 2019 runways in startling quantities. (Oh, and plenty of English Breakfast tea was on offer to guests.) So if you were following the shows and noticed a princess-like ballgown or a glittering crown on a model and thought to yourself: Hm, is this supposed to be a royal wedding reference? It may not have been laid out as explicitly in the show notes, but it wouldn’t be that much of a leap to make the connection.

Ahead, we revisit eight collections that subtly and not-so-subtly referenced the new People’s Princess—or the idea of a “royal wedding” more broadly—for Spring 2019 bridal.

We bring you the trends. You make them your own. Sign up for our daily newsletter to find the best fashion for YOU.



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