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- [00:01]
Lauren Sherman
Everyone, therapy is important. Everybody should have access to therapy. That's why I like Rula so much because accessible care shouldn't be this hard to find. You use your insurance for the doctor, so why not for your mind? Rula makes sure it does by partnering with over 100 insurance plans, bringing the average copay to just $15 per session. Rula is entirely focused on quality care, connecting you to a network of over 15,000 license vetted therapists and psychiatrists. They don't just give you the first random doctor on the list, they curate a personalized selection based on your background and goals. There's no frustrating back and forth or wait list. You can see someone as soon as tomorrow and they support you every step of the way. Thousands of people are already using RULA to get affordable, high quality therapy that's actually covered by Insurance. Visit rula.comfashion to get started. After you sign up, you'll be asked how you heard about them. Please support our show and let them know we sent you. That's r u l a.com fashion. You deserve mental health care that works with you, not against your budget. Whether you're renting or paying a mortgage, one of your biggest monthly expenses should be working harder for you. That's where BILT comes in. BILT is the membership for where you live that rewards you with points on every housing payment wherever you live. It started out rewarding members on their rent, but now as of 2026, BILT members can also earn points on mortgage payments. Every housing payment earns you points you can use toward flights with top travel partners like United and Hyatt, Lyft rides, Amazon.com purchases and so much more. Personally, I'd love to redeem my points toward a room at a Hyatt for my next vacation, but here's is the most underrated part. Built members also get access to a neighborhood concierge. It can make restaurant reservations, book fitness classes, and find new local spots, all while being rewarded at more than 45,000 merchant partners. It's like having a personal assistant baked into where you live. It's simple being a renter and now owning a home is better with built Join the membership for where you live@joinbuilt.com fashion that's J-O-I-N B I L T.com fashion make sure to use our URL so they know we sent you. Hello and welcome to Fashion People. I'm Lauren Sherman, writer of Puck's Fashion and beauty Memo line sheet and today with me on the show is Retail savant Alex Eagle live from Bicester Village. We're talking shopping, Alex's fashion origin story, good taste and so much more. Before we get going, I wanted to remind you that if you like this podcast, you'll definitely love Puck, where I send an email called Line Sheet. If you're a fashion person, you get that reference. It's an original look at what's really going on inside the fashion and beauty industries. Line Sheet is scoopy, analytical and above all, fun. Along with me, a subscription to Puck gains you access to an unmatched roster of experts reporting on powerful people and companies in entertainment, media, sports, politics, finance, the art world and much more. If you're interested listeners of Fashion people get a discount. Just go to Puck News fashionpeople to join Puck or start a free trial. Happy Friday everyone. Hope you're having a great week. I'm actually on my way to New York right now for a quick trip and I'm sadly missing the end of Men's Fashion Week, which was at least to start pretty fun despite the 100 plus degree weather. So it was like 42 or something. It was, it was bad. I have a special guest on next week to chat about it all but on the early shows I was able to catch we should quickly talk about Dior. I thought it was a good show. There was a merging of the two Jonathan Anderson menswear shows. He called it a compounding but I think I I like more got it the first menswear show. I love the second one. I was like what does this have to do with the first one? Now I kind of understand and also I got a lot of really good feedback from readers. My reply, guys who know a lot about fashion, who work in the industry and they liked it. I think the reference to Mark Bohan the designer there for a long time when there were like tons of licenses and cool people have pieces from those collections. I think that was helpful.
- [04:48]
Alex Eagle
He.
- [04:48]
Lauren Sherman
He like referenced a jacket that he wore to an event and that kind of took him into it. So there was a. But there was a lot to like. Like if you broke it apart it was. It was really good. I'm also like finding the sort of real time dissection of Dior to be a little bit like too online for me and I'm trying to disengage from it for a moment. The numbers will show and if people like it, people like it. If people start wearing the stuff and you kind of see it around, we'll know. And, and I think I liked it I thought it was. It was a good next step. It's incremental.
- [05:25]
Alex Eagle
It's.
- [05:25]
Lauren Sherman
It's an interesting narrative that 10 years from now, we're going to look back and be like, wow, that was a fascinating time in fashion. Anyway, fortunately, on Thursday, I missed Dries, I missed Rick Owens, I missed Isey Miyaki because this annoying thing I'm dealing with that I will discuss ad nauseam once it is over. But I don't want to jinx it. I did make it to Orly on Tuesday for the first time. I went to Orly and La Mer on Wednesday, which is one of my favorite shows. I wasn't a Louis Vuitton, but I obviously was looking at it closely and we should quickly discuss. So Pharrell usually works with the stylist Matthew Henson. He left the LV gig.
- [06:00]
Alex Eagle
I don't.
- [06:01]
Lauren Sherman
I think they probably still work together on some level. He doesn't work at LV anymore. That ended in January. A few months later, after Will Welch arrived to Pink P ink, whatever it's called Pharrell's hoco, they hired Charlotte Clay to do this show. She, Charlotte Styles. We talk about her all the time. Jill Sander, Orly Baba. Sometimes she does high sport, which is obviously all my world's coming together. I think she and Brian Malloy, they're sort of like the Joe McKenna's of our generation. She's guiding people. Charlotte and Brian, a couple other people are guiding people how to dress. I don't think a stylist can save a bad collection, but I think they can make a collection much better. And I thought Charlotte, there was something in a different perspective.
- [06:50]
Sophie Hodges
It.
- [06:51]
Lauren Sherman
There were a lot of people who didn't. I. The best way to describe it is there are a lot of people who did not know she styled it until after. And that said to me, oh, I thought LV looked really good this time. So I think she brought something out in him that. Or started to tease something out that. That wasn't there before, for whatever reason. But yeah, it was interesting. And she also styled orally that night, which was like all about untucking your shirt. I don't know.
- [07:20]
Alex Eagle
We just like it there.
- [07:21]
Lauren Sherman
The colors are good. The ideas are simple. It's what people need. I also loved Saint Laurent. Anthony Vaccarella showed at the Bourse amid the Pinot collection. And there's this amazing Fujiko Nakaya fog sculpture in the rotunda right now that I went to with my family a couple weekends ago. And so they line the chairs up around the edges of the rotunda at the bourse, and the models walked on like the edge of the fog. And it was amazing visually. But I really love the collection. All the brooch buttons, the sheer taffeta windbreakers. It was just gorgeous. It's very influential and yet the opposite of what most people are doing. Although in some ways, when I was at the La Mer show the next day, I was like, this is kind of in conversation with the St. Laurent. It's like one person wearing Le Mer for day, and then Saint Laurent at night. La Mer. I really liked it. Very 80s. Essentially every season. That's just like an iteration on the last. I'm really glad I don't have to write Vogue Runway reviews, because it would be hard to write about this. And it. It's not. It doesn't. That's not what it's about. It's, like, about incremental. And it changes the way a real wardrobe changes gradually, not overnight. But I think we'll talk more about that stuff next week. And make sure to check out Rachel Sugatz's reporting on Fenty and line sheet and all this data stuff. We got lots of good stuff this week. Malik had a skim scoop, but let's get going with Alex.
- [08:50]
Alex Eagle
I tried truly enjoyed this afternoon with
- [08:51]
Lauren Sherman
her at Bicester, and I think you will, too.
- [08:56]
Alex Eagle
Thank you all for being here.
- [08:57]
Lauren Sherman
This is so fun.
- [08:58]
Alex Eagle
I've never been to Bicester Village before, so I'm glad to have this experience with you all. I'm so pleased to be here. So happy. So before we get started, what did you have for breakfast this morning?
- [09:10]
Sophie Hodges
How deep do you want to go?
- [09:11]
Alex Eagle
As deep. This is the most important question.
- [09:13]
Sophie Hodges
Okay. It's half term in England, so I don't normally get breakfast with my kids because the poor little things get up at 6 and get out. So we had scrambled eggs. I try and do the glucose goddess. I have green things first. She's a life changer.
- [09:28]
Alex Eagle
I live near her in Paris, and I've seen her at, like, the pharmacy. And it's like seeing a celebrity.
- [09:34]
Sophie Hodges
Yeah, it is.
- [09:34]
Alex Eagle
My husband met her at a party. He was like, I met the glucose goddess.
- [09:37]
Sophie Hodges
And she's so nice, so nice, so nice. And I swear by that. So I did the greens, and then I did the scrambled eggs. We've just opened this place called the corner shop in 180 the Strand, that I would welcome you all to come to. But there's amazing sourdough bread. So I'm not normally like that, but because it's half term and my kids are normally out after like a cold wheat a bit. Cause I actually did a bit of a breakfast situation and then I'm really into all this like bone broth, but not real bone broth like mixed with the cacao like in a powder, which sounds hideous, but it's really nourishing. I'm going to send you some. And I whip that up with like loads of collagen and like fiber and coconut milk and it's delicious. And I make it in a big like Venetian hand blown Venetian glass with a Venetian straw. So it's like cold and delicious and you don't taste the organ meat.
- [10:30]
Alex Eagle
Tastes better because it's in the Venetian glass.
- [10:32]
Sophie Hodges
It kind of. Yeah, I think it does.
- [10:33]
Alex Eagle
Do you sell that mix at 180 as well?
- [10:37]
Sophie Hodges
So I'm opening a new space next to the corner shop which is going to have like smoothies from like the genuinely really healthy. So like sauerkraut juice and homemade kimchi and those kind of like pickled and fermented foods, which is genuinely really healthy all the way to the like delicious smoothies that aren't actually healthy but are delicious. And so it'll be a sliding scale but we'll definitely do like a bone broth disguised in chocolate situation.
- [11:06]
Alex Eagle
We'll talk about fashion retail at some point. But back to food retail for one second. When we were driving in here, I noticed there was an Odda Lenghi. And I was thinking about this cause I'm staying at the Standard near King's Cross. And I walked over to see the Yellow Bittern, which was a beautiful restaurant. And I stopped in, I was gonna have lunch, I don't have enough time. So then I ended up going to Gail's and was walking back Gail' the iconic place. Otolenghi. Amazing. And I was thinking, I think London is the best food city in the world. Like there's just amazing food and there's. So it's the mix of the American bone broth, but then the sort of attention to ingredients and details that you get in California but not a lot of other places in the US it's more European. Do you feel that way that like now that you are expanding beyond your doing all different sorts of retail and hospitality and all of that, do you feel like there's just a big opportunity here for those kinds of experiences?
- [12:12]
Sophie Hodges
I think actually it's such an interesting question because I think in retail, from the food to the clothes, it is the same thing. You're looking at what is it made from so the ingredients. So the way I make a shirt is pretty simple. It's a shirt, but how it's made in England, with what fabric, in what craftsmanship, that's maybe British heritage made Savile Row for hundreds of years. The approach is the same with food. While bone broth was probably just in your stew and not in a powdered smoothie, it is looking at the ingredients and it is looking what's seasonal, what's local, doing the work for the client so that you're not greenwashing, you're not over pushing it, but you've done the work so that they're getting a product that is intentional, it is thoughtful and it is kind of local, seasonal, organic, etc. Etc. And that's a kind of amazing way to look at things like is it a good product? And then you can make it a simple product like a celery juice or you could make it a curry, whatever it is. So I kind of am approaching it in the same way and always evolving and always trying to improve, I guess.
- [13:17]
Alex Eagle
Well, tell me about how you ended up opening up a juice bar.
- [13:25]
Sophie Hodges
So I'm the creative director of this project called 180 the Thames, which is with my husband Mark and Nick Jones, who was at Soho House. And it's a kind of huge million square foot place in the middle of London in the Strand. And we were opening a hotel and a residence where we had to sell apartments and sell a kind of concept of coming to this area that isn't. It's bang in the middle of London, but it's not like known like Claridge's or Chiltern Firehouse. And so I thought, well, I would go anywhere if there's a really good coffee shop, smoothie, good yoga class, you know, there's not that many things like if I go to New York, if there was a hairdresser, SoulCycle and smoothie place, I'd stay there. And so with that in mind, we thought we'll do a deli so that the reality of how you eat isn't that you always want to eat five star gourmet food. You want a bagel, you want a delicious coffee. So we created it just for the residents of the building and then it's just taken off because I think people, there's a real luxury in good food, you know, and people really spend money on themselves eating well, eating something nourishing. It's a kind of Instagram thing. People want to have their photo taken, but it's food and it's like, it's a big luxury, but people can justify it because it's, you know, not your nourishment.
- [14:45]
Alex Eagle
Yeah. Okay, so fast forward way back to long before 180, long before all this entire world you've created, to being an intern in the closet with Emily, our friend Emily Cronin, who is here at Harper's Bazaar. Is that. How did you know you wanted to get into fashion growing up? Like, what did you want to be?
- [15:06]
Sophie Hodges
Yeah, I remember being about three or four and wanting to be the editor of Vogue and all my. And saying it at some dinner like. And my aunts and uncles all laughing at me. I was like, what's so funny? And I was always drawing clothes. And it was the late 80s, early 90s, I guess, and probably a lot of people who were as old as me in this room tore out Vogue magazine, stuck it on the. I did sketchbooks and it was. My walls were covered in black and white Calvin Klein ads and, you know, articles about Voyage and all these secret kind of 90s great places. So yeah, it was easy for me because I always wanted to work in fashion. Thank God, because I transpired. I have ADHD like a lot of creative people, but I had terrible dyslexia and school was real struggle. Like it didn't stick. So this. Luckily I had this much bigger picture so I could get through it and I could work on the side delivering tapes for my dad around soho and go and buy clothes and I could work in shops from a young age, you know, I could find. And I started to feel really good about myself working in a shop or when I started interning and working, I had a really good. I started to get a sense of self worth and value and it didn't matter that I couldn't pass an exam.
- [16:25]
Alex Eagle
You know, what kinds of brands were you shopping when you were a teenager and in your own.
- [16:30]
Sophie Hodges
Joseph was big one. I'd spent all my money in Joseph. I went to school on Pont street, which is just off Sloane Street. And in the 90s, it's lost its way now, but in the 90s it was like a really happening place. And I'd go into my school uniform and buy like one Chanel nail varnish or go and see the stuff in Joseph or Harvey Nichols. And yeah, I was never intimidated by. By it because it was kind of part of my everyday, I guess.
- [17:01]
Alex Eagle
Yeah. What was the high street like in the 90s here? Because growing up in America and I read British Vogue religiously in the 90s was obsessed with it. I was also obsessed with Liz Tilbaras, who had been the editor and that was kind. But that's where I learned about H and M. Yeah, was because the British magazines are so much better about High Low. And it felt like there was more stuff on the high street. Or was it when Topshop became really cool that.
- [17:31]
Sophie Hodges
Well, Topshop was cool because I think a lot of the stylists you work with, it shopped vintage. So there was always this feeling of vintage and Topshop and the High Low and those famous jeans that Manuel Alt even wore and stuff. I mean, I think there is just a culture of High Low and there is a culture of style in England and in London and it doesn't really matter where things are from. You know, the 90s wasn't really about logos or knowing. It was just about style and slightly scruffy style, you know, wasn't. I didn't grow up with. People had manicures and blow dries, but they were the most stylish, chic people, you know, that came much later. So, I mean, obviously I shopped in the high street because I was a young person with zero money, but I would, I would, I would. I loved and I still cherish the pieces I'd saved up for, you know, from bigger brands.
- [18:24]
Alex Eagle
So when you grad, did you go to university?
- [18:27]
Sophie Hodges
Yeah.
- [18:28]
Alex Eagle
When you were done with university, you started interning all these things. What did you. Did you still want to do? Edit? And how did you end up in retail?
- [18:35]
Sophie Hodges
So I did. I went to university down the road. I went, studied history of art at Oxford Brookes. And we get the Oxford Tube, which is the bus back to this shop called the Cross, which was in the 90s, a really cool shop on Clarendon Cross in Notting Hill. And I'd work there and kind of keep in that way during the three years I was at university. And I'd like assist kind of dodgy stylists and whoever I could in the holidays. And then I came back and worked at this company called Granny Strock, which was like. Do you remember them? Yeah. It was like a, you know, great British brand and I worked there for zero money, but it was like walking distance from my home and I made money flowering on the side or waitressing or whatever, and I loved it there. Flowering, flyering, like whatever, like making money. Yeah. It's not chic. I shouldn't admit to it, but I did.
- [19:28]
Alex Eagle
I thought you said flowering and I thought you were flower arranging and thought that was really.
- [19:32]
Sophie Hodges
That's really chic. No, I was, like, handing out flowers on Regent Street.
- [19:35]
Alex Eagle
It wasn't chic. I did this also because, you know, I lived here from 2004 to 2006 and worked at Quintessential.
- [19:42]
Sophie Hodges
Oh, yeah. Did they make you fly us?
- [19:44]
Alex Eagle
No, they were paying me £17,000 a year. So on the weekends, they originally offered 14. And I was like, guys, I have what is called student loans.
- [19:55]
Sophie Hodges
Yeah, the 17 was good.
- [19:58]
Alex Eagle
Yeah, it was. They, like, really went up for me because they were like, okay, she's American. But no, I handed out flyers for stuff on the weekends to make extra money.
- [20:08]
Sophie Hodges
To make extra money. 50 quid.
- [20:09]
Alex Eagle
I mean, yeah, it was crazy. And I also worked at the Bond underwear store off of Golden Square.
- [20:16]
Sophie Hodges
Oh, my God, the Australia. That's where I live. Right there. Around there.
- [20:18]
Alex Eagle
Yeah. Well, because Quintessentially was in Golden Square.
- [20:21]
Sophie Hodges
Yeah, of course.
- [20:22]
Alex Eagle
And, yeah, that was. That's my. Anyway, I hijacked. So you were flyering, you were doing.
- [20:27]
Sophie Hodges
Well, whatever, but, you know, babysitting, whatever. And then I got my first pay job at Sunday Times Style, the bottom of the bottom, but I loved it all the way in Wapping. And then I got a job at Tank magazine. And then my first main thing was at Harper's Bazaar, where I went in really junior role. But Lucy Yeoman's then editor let me style things and do my own pages. And she saw something in me that I definitely didn't see myself. You know, she'd call me into her office and let me. She pushed me to write and to tell stories because at the time, I thought I wanted to be a stylist. And actually I was doing stories about real women, how they shopped, what they wore and those kind of things. And actually, you know, I didn't know that that was a job, but I really loved clothes and I loved getting dressed. And it just. It kind of ignited something in me. As much as I loved high fashion and, you know, super stylist, doing these amazing shoots, really, it was the real women and what they wore and how they wore it that, I don't know, clicked with me somehow.
- [21:37]
Alex Eagle
And did you stay with Lucy when she went to Porter, or.
- [21:41]
Sophie Hodges
No, I got an opportunity to work at Joseph, which I thought would be a stopgap before becoming the editor of Vogue.
- [21:49]
Alex Eagle
Look, if it was a different era, you would have been the editor of Vogue, but the world changed, and now you're the editor of your.
- [21:56]
Sophie Hodges
Yeah, no, I'm so glad. I'm sorry. So glad. And I loved. Yeah, I loved working at Harpers. And then I worked at Joseph temporarily for about five years. And it was a great opportunity because I was in my mid-20s and I was working with a creative director who's now at Bottega, this woman called Imogen Crosby, who's a kind of amazing communications director, an amazing CEO and an amazing buying director. And because I was 25, I wasn't particularly good at anything. But I was the voice of someone at that age.
- [22:24]
Alex Eagle
Yeah.
- [22:25]
Sophie Hodges
And so I got to sit in on these meetings and give them input because I was young and they were all my age now, so were much more experienced. But they wanted to have the voice of someone younger who was going out all the time, who was desperate to go to all the shows, desperate to go to all the parties, just out and about. So I got to go to meetings, I got to go to shows, I got to go to LA to shoot with Peter Lindbergh. You know, it was. I worked really hard, but it was a good time because I didn't have any experience. I was just representing my age group.
- [22:58]
Alex Eagle
And it was also such a. I think you're talking about Louise Trotter.
- [23:02]
Sophie Hodges
Yeah.
- [23:03]
Alex Eagle
I loved what she did at Joseph. And I thought. I remember I met her, I went to a dinner that they did in New York. But I thought what she was doing there was really unique because that price point is. And now you're sort of in that price point. So you see the kind of challenges and the opportunities of that price point. And I always thought, working with her, did you think she would keep going and could you see that she was. Or like, that had that drive to be successful?
- [23:29]
Sophie Hodges
Yes, I do think as a woman, and then in my 20s and now obviously in my 40s, she made clothes for women to wear and to wear to death. And a uniform that meant when you got up in the morning, everything went with each other. And you weren't faffing about accessorizing. And that moment that we all have, that I certainly had before I worked with her, like, I've got nothing to wear and I feel fat and I feel gross, and this doesn't look good. She gave this uniform that, like, just worked. And that is something that torch. I kind of like. It's very meaningful to me to have experienced suddenly not to be chaotic and buy things in sales and buy things because it's trendy. To have a uniform that really worked for me was really valuable.
- [24:13]
Alex Eagle
And how did you move there, to Soho House or.
- [24:17]
Sophie Hodges
So then I got an opportunity. I was living on Walton street, right next to Joseph. And I was doing things on the side, so I was like styling girlfriends for baftas. And it was all very different then. It was like much more tin pot but like baftas or events and jeweler friends would lend stuff or I'd lend from my archive and dress people basically. And then I started accidentally selling the mirrors and the coffee tables in my apartment. And my now husband, then boyfriend was like, you should just open your flat up as a shop. And there was actually an opportunity in the shop opposite to do that. And he encouraged me, he's like, don't do it like a shop, don't get a shop, fit out. Literally just make it all for sale like this flat. And so I did, I mean I really. He was amazing to have seen something in me again that I didn't, I just took for granted. And he encouraged me, which was really great.
- [25:17]
Alex Eagle
And so what happened?
- [25:20]
Sophie Hodges
So it was, I mean it. There was no what was nice about it. And I think everything I've done since is never to say what I am. Yeah. So it wasn't an antique shop, it wasn't a multi brand store. It was just a space that everything was for sale. So I developed a candle that was for sale. The records that were playing were from his, my husband's archive because that was his obsession. And so I created a space that like sounded cool, smelled delicious. And then I worked with brands and friends selling their clothes and then I bought and sold antiques, which was how I made money really. And then it just evolved from there and I saw gaps in, you know, when I left Joseph, that kind of idea of like, what's the uniform like? Embracing British manufacturing, which was really, I thought was going to be much richer than it was and there was no manufacturing. And so I went to like Savile Row men's tailors and did tweet things and made it for women and started these accidental collaborations. You know, it wasn't like a world of collaborations then. And so to make product I collaborate with, but random things like Swain, Eagley Brigg or New and Lingwood and these kind of old school men's kind of Savile Row tailors and tweaked them and. Yeah, and then started developing my own line of clothes from that of like basically what I still make now, shirts, few silk pieces, linen T shirts, everything in really nice fabrics and then trying to push it all being in British fabrics and manufactured in London, which is still what I do
- [26:56]
Lauren Sherman
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- [28:43]
Alex Eagle
How hard has that gotten with Brexit? Has it gotten harder? Is it. Are you working with such elite places that they are still able to continue?
- [28:53]
Sophie Hodges
Yeah, I mean the fact I don't wholesale the fact, you know, I think it's been 10 years of like battling on and wanting to make things in British fabrics in London or in Britain. We even had our own factory in Soho. Making things because it was so important and so Brexit is a headache. But in a way it doesn't matter because I don't have to make something for this amount and sell it for that amount. It's all up to me. I don't have to compromise or squeeze things into being this price to sell it to someone to then sell it on. If that makes sense.
- [29:27]
Alex Eagle
Yeah, of course. Why did you decide not to? Because I'm sure you've been approached. Obviously you did a collaboration. I'm gonna just put this down. I don't think I need the questions. You did a big collaboration with J. Crew. You've done. I'm sure you get approached all the time from the, especially in the us, the big American wholesalers or the department stores. Why have you decided to not do that?
- [29:53]
Sophie Hodges
I think because I'm not fooling myself. I am just clothes. It's not. I'm not a. I'm a creative director across fabric, space, light tailoring, but I'm not a Louise Trotter. I'm not. I love what proper designers do, but I'm just making clothes, you know, I feel like if it's the fabric and the fact it's made in England, this design is pretty simple. So the problem comes when you try and wholesale it is that you're squashed and compromised in terms of fabric manufacturing. And again, I'm not fooling myself. My prices can't be Prada prices because you're going to buy Prada. So it's so nice when I've been asked and there's always ways you can kind of do things with people, but it didn't make sense.
- [30:37]
Alex Eagle
Yeah, it's interesting. Do you know Yael Aflalo? Have you met her? I feel like you should. She was the founder of Reformation and
- [30:45]
Sophie Hodges
now she has this brand I follow
- [30:47]
Alex Eagle
and what she has said to me is direct to consumer is really, really hard the first few years, but if you can stick it out, it's so. And obviously Reformation now does do multi brand and they got to that point. But she's like, it's just a million times better of a business. You have more control. You can price it the way you want to price it.
- [31:07]
Sophie Hodges
Yeah. You don't have to put it on sale.
- [31:09]
Alex Eagle
Yeah. So what was in the beginning? Because I remember like the gorgeous suiting and the knitwear and then it sort of got pop culture when you started doing a little bit of merch stuff. That's really great. Our mutual friend Delphine has sent me hats from you. But what was the sort of initial reaction and was it like the price value that people were appreciating in the suiting?
- [31:36]
Sophie Hodges
Yeah, I think it's quite transparent. Like something costs something. There's no added margin for like a huge team or a big bond street store or, you know, the price is the price. It's pretty like transparent. And then it does mean people come back and it's not super hot and therefore dark. It's consistent, you know, and that's what I wanted. I thought there's all these places that men shop that are like been here for decades and they can buy the same shirt that fits in the same way. They know Their uniform, they, you know, their size. And I thought, I want to be that woman. I don't want to be fussing in the morning about what to wear. I want to go shopping and buy my uniform. And then you come somewhere here and you buy something fabulous and different. There's always coarse wiggle room for different special things. I'm not saying you should just dress in shirt and trousers, but although you look pretty great. Thank you. But I had so much fun here today. You know, it's like fun shopping and buying different things.
- [32:30]
Alex Eagle
Did you get anything or you just.
- [32:32]
Sophie Hodges
Yeah, I got loads of things.
- [32:33]
Alex Eagle
What did you get? What did you get? Tell us one thing.
- [32:38]
Sophie Hodges
I got some stuff from St. Laurent. Just some stuff.
- [32:40]
Alex Eagle
I'm gonna go. Are there any jeans?
- [32:43]
Sophie Hodges
Yes.
- [32:43]
Alex Eagle
Okay. I really want a pair of jeans.
- [32:45]
Sophie Hodges
And Bonpoint, your son, would he wear it?
- [32:48]
Alex Eagle
He exclusively wears Arket.
- [32:50]
Sophie Hodges
Oh, cool. Yeah.
- [32:51]
Alex Eagle
License of Arket. He is. I was shipping it with a freight forwarder to the US because Arkut does not.
- [32:58]
Sophie Hodges
You've got it in London, so you just get on the Eurostar.
- [33:00]
Alex Eagle
I know now I can do it, but. And in France, the Arkits don't have kids clothes. But anyway, I have. So maybe I'll go to Bonpoint and check it out. They do have adorable stuff.
- [33:10]
Sophie Hodges
It's really adorable. While you can just still get him in it.
- [33:13]
Alex Eagle
Yeah. Yes.
- [33:14]
Sophie Hodges
There's an age gap where they're like, no. And you just want to buy.
- [33:18]
Alex Eagle
Yeah. He still lets me put him in whatever I want.
- [33:20]
Sophie Hodges
Okay, good. Yeah. Because my son's nine and it's football kits only. Wow.
- [33:24]
Alex Eagle
I'm not in the sun.
- [33:25]
Sophie Hodges
You just see that little skin with the plastic?
- [33:28]
Alex Eagle
Oh, my God. Anyway, back to your wardrobe that you've created for yourself, and then you mix
- [33:35]
Sophie Hodges
it in the exact stuff and. Yeah, I just didn't go the wholesale route. I mean, I'd never say never to anything. And working with J. Crew was amazing because, you know, my team is tiny, and we don't do seasons, and we don't get the chance to make loads of things. And the J. Crew thing was amazing because they've got one person who works on cotton poplin, one person who does denim, one person who does small leather goods, one person who it was. And they were so gorgeous to work with. Olympia was amazing. They just let me have free rein. I got to collaborate with her, which was amazing. But it was so amazing seeing a team where it's so slick, so American, so kind of functional, and they did things to such a high level. And so I Didn't feel like it was a compromise at all. But that was a one off collaboration where they. We really pushed to like get the fabrics high. The whole point was that we wouldn't compromise to do that on a large scale. All the time, season after season with the pressures you then have to have margins and things are erased to the sale and all these things. Which is where we're a bit stuck in fashion at the moment. And I can't see a way out of it. Put me off and I thought there are people doing it really well. But I don't want to work in the rag trade. I don't know how to do that and I don't think I have the skill set for it. So therefore I'll do other things.
- [34:59]
Alex Eagle
Do you have a sort of 10 year plan or do you. Are you a project person and you're thinking I'm gonna do this work on this project and then move on to something else and not planning, projecting and all that. I'm sure you have to do that a bit. It's a real business.
- [35:16]
Sophie Hodges
I mean the project I'm doing is come to completion now. Has been in my head and in a reasonably small marketing meeting for years. You know, we've all been working on it. What you hopefully will all come and see soon has been a 10 year project. I mean the furniture that's in the space I've been collecting for 10, 12 years. It's like my whole marriage. So this project, it's a really interesting question and really well timed because I have had to think whilst doing my other things. This has been a 10 year project and it has been like when that's over again, I think it'll be a ten year thing. But a. I wonder if I'll work to a project this scale again. I think I've had both. I think I'm coming to the end of a project that has been 10 years. So I don't know if I'll think about things in 10 years or I should probably think in 10 years more.
- [36:04]
Alex Eagle
But I don't know. I think if you're looking, if you're working on. And we should define this project for everybody but I think if you are working on the way that you're approaching the fashion stuff or the clothing is you're making things that is sort of forever. So your business will keep building and it won't be if you're like we need to get to this point and this point. And I think that's where a lot.
- [36:32]
Sophie Hodges
Yeah, you don't have to scratch things and start again. It's slowly growing.
- [36:36]
Alex Eagle
Yeah, it's exciting. And it sounds like you really enjoy your work.
- [36:39]
Sophie Hodges
Yeah, I mean, I pinch myself, I really do. And I work really hard and I've worked hard to get there. But I do feel really lucky that I get to do what I love. And I work with my best friend as my business partner, my worst enemy. My husband is my other business partner. I get to work with Nick Jones, who I've worked with for 10 years. You know, they're long relationships and a lot of the women and men who work with me, I've been working with for a long time now. And that's amazing to have this so cheesy, but family, you know, people that you know and it's not always easy. So it's really amazing when you get the chance to work with someone because you know your weaknesses, your strengths, you know, whatever, it's. I feel grateful to have it being towards something like that, if that makes sense.
- [37:26]
Alex Eagle
Yeah, for sure. So tell us about this 10 year project, how it started.
- [37:31]
Sophie Hodges
Yeah.
- [37:32]
Alex Eagle
Because I first learned of you when you were doing the shops at Soho. Soho Farmhouse.
- [37:38]
Sophie Hodges
Yeah, down the road and Berlin.
- [37:41]
Alex Eagle
And that one is. Yes. It's so amazing. I've been there. Tell me about what this project is. I'm assuming it sort of is connected
- [37:49]
Sophie Hodges
to the work you did there. Yes. So in about 11 years ago, I opened this place called the Storek Soho House Berlin. And it's in the 40,000 square foot in the ground floor of the Soho House building in Mitte. And I went to see this big empty space that had been Jones's, I think it was called a Jewish department store, pre war. And it was empty space. They'd taken the rest. It was a Soho House and there was this space and I came up with this concept which was like a big co working hangout with fresh juice and brought loads of plants inside. And I wanted it to be a place that you kind of sense of discovery but you left feeling better than when you came in. So fresh pressed juices, healthy food, plants, loads of books that you could just flick through without buying. You weren't followed around by someone being like, can I help you? And you could do your calls and drink your coffee around Bottega and Balenciaga and com and then funny random brands and handmade stools from down the road and a kind of cultural fun melting pot of ideas ever evolving. And we had artists do installations and we had, you know, great people kind of collaborating and using the space so little did I know this concept would kind of actually start to be more how people developed multi brand stores or cultural spaces in general but that this would be then taken and amplified in this building which is called 180the Thames which is half of it already exists and it's kind of a big co working. There's a Soho house on the roof, there's big atrium where lots of people work. There's big shows with different kind of institutions or curators and there's cafes and bars and hangouts and it's kind of like a kind of fun buzzy space and then we're doing a big courtyard in the garden so it'll be like an urban oasis and then Residences hotel, I'm moving my shop there. We're doing. It's going to be like a the other side of living. So you've got this fun young creative buzz and then you've got this kind of karma kind of other part of lifestyle which is maybe thinking about what to eat, how to spend time.
- [40:06]
Alex Eagle
I can't think of a city other than London where something like this would work. Do you think in New York there are, there's. What is that place WSA which I feel like when I went to 180 I was like oh it's obvious that WSA had got some inspiration from. But that's not live work, that's like a very work.
- [40:27]
Sophie Hodges
Yeah work hands.
- [40:28]
Alex Eagle
And no person who works at WSA is going to live in the financial district even though it's great and I enjoy working. I don't work from WSA but our office is down there. It's just. Whereas 180 feels like a hub it feels like a mix of things and it Cold Drop yards is another example of that in London like these areas where a lot of you can have in New York there's also Hudson Yards but again it's not cool whereas like 180 feels like cool people are around.
- [40:59]
Sophie Hodges
Well I guess it's where like it's kind of shifted because I live in Soho at the moment and I want to move to 180 because it shifted where the axis where feels the centre. You're right there next to Covent Garden. You're right opposite the Barbican. It's where east meets west and then you've got south there. I mean it's kind of weird because it is where London kind of meets and I think it's the most ancient first point where London was created. I mean it's medieval. It's on all these Ley lines and there's lots of churches built there. And the Strand was like billionaires row back in the day. Where we are now was Great Arundel, Great Court, where the Duke of Norfolk lived, Somerset House, which probably people know was the Duke of Somerset. And all these houses where the gazillionaires had their kind of estates, you know. And then it kind of stayed a very powerful, very affluent, very rich street until the twenties. And the Savoy was like, you know, the place and it just over time lost its way somehow. So it's just reigniting something that was kind of always there.
- [42:06]
Alex Eagle
Yeah, it's really. It's interesting. And also, I didn't realize the barbican was so close.
- [42:11]
Sophie Hodges
Yes, it's right.
- [42:11]
Alex Eagle
Cause that's like my dream is to live in the barbecue.
- [42:14]
Sophie Hodges
Yeah, good choice.
- [42:15]
Alex Eagle
But we have friends who live there. Like, it's like there's constantly issues, but
- [42:20]
Sophie Hodges
it's also very high functioning. I feel like they have their own ebay system. It's like that brutalist living is very utilitarian. It's very like, it's very thoughtful in terms of how to live this kind of utopian life, which. Anyway, you can live with us and overlook barbecue.
- [42:36]
Alex Eagle
I think that sounds nice. So tell me about the hotel.
- [42:38]
Sophie Hodges
So the hotel is the brainchild of Nick Jones, who did sohouse.
- [42:42]
Alex Eagle
But now that this all makes sense, because the food is good. And the thing that I love about Soho House so much is no matter where you go, the food is good.
- [42:53]
Sophie Hodges
Well, it's consistent, I guess, isn't it?
- [42:57]
Alex Eagle
Yeah, is the best word.
- [42:58]
Sophie Hodges
I think we. The thing about Nick is he's a genius and he created a look and a feel that's been so copied. So our role, me and Sophie Hodges, my business partner, was to try and push Nick out of what he is so consistent. He created a look and a feel that is so known, that is so copied, that is so brilliant. So it was a been a. We were lucky to have had this predated relationship with him for a long time. I spent my whole honeymoon with my husband on the phone to him, you know, like, this guy's been in my life a long time and we've fought since we met. I wanted to paint the shop at Farmhouse red. And he was like, it has to be a chic green. And I painted it red and there we go. And he'll never forgive me. But. So it was pushing someone with a great consistent taste out of that has been a struggle. But really fun and really exciting and it really doesn't Feel like a Sohaus, but it feels like it was a true collaboration. Like, we didn't do it for him. We worked with him through it all, and he knows what he likes, but he's been really open to, like, seeing things through another lens. And he's got daughters, and the daughters would sway him, you know, and we got somewhere that feels really fresh and different. And that was the important thing. It didn't want to feel like another sewer house, because he's done that, you know?
- [44:14]
Alex Eagle
Totally. And, I mean, I haven't been to the hotel yet, obviously, but I ate at Corner Shop one of the trips that I've been coming back and forth to the UK a bunch this spring. And the thing about the food at Soho House is if you want a piece of salmon with crispy skin, you're gonna get it and it's gonna taste good and it's fine.
- [44:34]
Sophie Hodges
I think that's it. People traveling want that comfort. Yes, it's very comforting.
- [44:37]
Alex Eagle
But the thing about Corner Shop that I was so impressed by. My husband came on a trip and he went. He doesn't know you. Was just like, I wanna check this place out. Bought a bunch of stuff he loved. It was that, like, you've obviously hired an amazing chef. It doesn't feel like you would get the food everywhere. It's easy food. Yeah, but it's not. It's not generic in any way. And it feels like you.
- [45:05]
Sophie Hodges
And the menu's changing. Cause I think there's something so comforting in what Soho House does. And I think Nick will do that with his Clement restaurant. It'll be elevated, it'll be special, but it'll be comfort food. He knows what he likes. He's not trying to be pretentious or get a Michelin star. He wants to make people feel really comfortable and overwhelm them with, like, generosity and goodness. But the Corner Shop is like. It is. If you were going to live somewhere, what do you want to eat every day? It's just looking at that. And therefore, it changes all the time, which is really nice. You know, it's not stuck.
- [45:34]
Alex Eagle
It's so good. I can't wait to see the hotel
- [45:40]
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- [46:44]
Alex Eagle
Back to clothes.
- [46:45]
Sophie Hodges
Yeah, we're not talking about fashion at all, are we?
- [46:47]
Alex Eagle
The food thing is just. It's a good cause. It's connected to what you do with your clothes, too.
- [46:52]
Sophie Hodges
Yeah.
- [46:52]
Alex Eagle
Like what you're saying is it's about making good things.
- [46:55]
Sophie Hodges
It's just lifestyle, I think.
- [46:57]
Alex Eagle
Yeah.
- [46:58]
Lauren Sherman
Yeah.
- [46:58]
Alex Eagle
I think it's interesting because you are a world builder and a creative director and I think your clothing, you should give yourself more credit for how correct it is and how, I don't know, it's very hard to do what you've done in terms of building something that feels so quality and beautiful but also interesting. There's not. There just isn't. It's very singular. And that is. No, it's true. I mean, it's.
- [47:31]
Sophie Hodges
It's because you cringe when it's your own, you know.
- [47:33]
Alex Eagle
No, I mean, it's so fun and it's been fun to watch it. Is there something that you want to make right now that you don't have in your wardrobe that you've been thinking more about that you feel like is missing? Because I feel like that's what you're doing.
- [47:47]
Sophie Hodges
Yeah, it is. It is. It's technical because I'm obsessed with natural fabrics. I'm obsessed with cashmere cotton wool. There is a really important place in your wardrobe for technical fabrics. And living in London, the rain, you know, like you do want. So that's a minefield for me because it's like not working with plastic, but making something. Does it matter if it's got plastic if you just wear it to death? Like, it's. Exploring technical fabrics is my next thing because there's so much development with materials and what are used and all this stuff. So I haven't really made much with that, but I really want to make like a hybrid great jacket that just puts everything together but is water resistant or waterproof. So that I think that. I mean, there's loads of things I'm desperate to make really gorgeous, like sensual but comfortable underwear. You know, there's 100 weight shirts I want to have in my wardrobe because it's just so much is done for you and then you think you've created the perfect pair of denim. But then that is where fashion and trends do. There are certain things that just stay cool and fashionable or true to your style. Jeans change. You know, the jeans thing is where I think it's okay to sway with what's fashionable at that moment, because you couldn't have really dated in the wrong jeans.
- [49:10]
Alex Eagle
I think it's true. It's funny because the skinny jeans are coming back. But then I see people on the train wearing the old skinny jeans and I'm like, that doesn't look great.
- [49:20]
Sophie Hodges
Still, though, it's not really going to come back, is it?
- [49:23]
Alex Eagle
No, they're back.
- [49:24]
Sophie Hodges
Are they back? Well, we heard it here.
- [49:27]
Alex Eagle
I think so. I mean, who knows?
- [49:29]
Sophie Hodges
I'm not doing it.
- [49:31]
Alex Eagle
I think that we don't have to do it.
- [49:33]
Sophie Hodges
Okay, fine.
- [49:33]
Alex Eagle
I think we can keep our 505s or 501s or whatever we wear. But, yeah, I think they will. It is funny. It's just funny when you're at the end of a cycle and. And you see the old cycles. The beginning of the cycle is still out there.
- [49:49]
Sophie Hodges
Yeah, totally.
- [49:50]
Alex Eagle
And so it's a weird thing. But that's an interesting point about denim in particular.
- [49:57]
Sophie Hodges
And you can see it when you've been around. I've been interested in fashion to a really, like, geeky level since I was 12 or 13, so this is a long time. So you do feel things coming. But it's amazing. It's almost. You see it too soon, you know, like the things you know are going to come back, it's quite far in advance. And that's not just because I'm some psychic in fashion. It's. There is a cycle, like you say, and like, you can't believe things will come back. I remember my mum being like, oh, I had something like that. And I'd be like, why did you get rid of it? You know? But now I'm that woman to my children and my stepchildren. Like, you know, you are over it by the time it comes back, I think.
- [50:35]
Alex Eagle
Okay, I have one more question for you and then we'll Open up to the audience. Part of this. And we were talking about this a bit before we started. Part of your life is being a public figure too. Like, I don't want to. It's not influencer in the. You're not like, hey, what do you do? I'm an influencer. Overshare. That's a great way to put it. People are influenced by you. They see your life, obviously, they shop your store and they shop your clothes. But part of the reason I want those trousers you have on is because you're wearing them and they look really good. They would not look as good on me, but they look amazing. But the point being that. How do you feel about that? Because I can tell you're not like a ta da person.
- [51:22]
Sophie Hodges
I don't overthink it. I mean, the children thing is weird because you do think about that. And I do put my children on there. And I do sometimes have sleepless nights. And then, you know, a lot of things go as on the private one. And I'll write, archive. The children thing is, I'm sure they'll sue me. I'm sure they'll hate me. But I ask them and they're involved and they do a lot of work with our friend Dennis for the Lumel foundation in Uganda. And I don't know, that's tricky, the children thing. And I wonder if I'll regret it or not. But I still do do it because they're a huge part of my life and my storytelling, and I can't help it because they're doing something fun, funny or geeky or, you know, and so my life goes up. So in general, I just don't think about it. I never thought about it. It happened by accident. Just scrapbooking again because of my ADHD and my dyslexia. I have. Don't know if it's connected, but I feel it is terrible memory. So I've scrapbooked and diaried my whole life and taken a million photos. So it was initially just a way to get my life, my travels, my stepchildren, like a record. So I remembered and I still use it like that. I was like, oh, my God. Yeah, I went there. And so it happened by accident. And I never really then gave it a strategy, you know, I never, like, changed the name to a proper official name. I never do this on Tuesdays or, you know, it just all goes up. And as a result, I don't care if people unfollow me. I don't care if people think I'm a Dick, I don't care. I don't overthink. It just goes up there and I'm at peace with it. I think.
- [52:51]
Alex Eagle
I think you should be. It's inspiring. And your kids will.
- [52:56]
Sophie Hodges
Whatever. They'll hate me anyway.
- [52:58]
Alex Eagle
Yeah.
- [53:00]
Sophie Hodges
I'll send them to a Breathwork Master or something. I'll. You know, I'll make amends with them.
- [53:05]
Alex Eagle
I'm sure they won't. Well, thank you again. This has been amazing.
- [53:09]
Sophie Hodges
Thank you. I want to talk to you now. I want your story next time.
- [53:14]
Alex Eagle
Next time over a drink. Does anyone have any questions for Alex, please? Maybe some of the students, since you guys are. You have to ask questions. Anyway. What kind of technical fabrics are you
- [53:29]
Sophie Hodges
the most interested in?
- [53:30]
Alex Eagle
Because you mentioned about those plastics that
- [53:31]
Sophie Hodges
I really love, what you said about if you wear it to death and
- [53:33]
Alex Eagle
it's still plastic, does it even matter?
- [53:35]
Sophie Hodges
Well, I know. Well, this is what I mean. I'd love your. I mean, this is where I'm trying to learn, I guess. Like what? I think nothing is bad if you use it to death. Right. But also, we don't have to use plastic. So the technical fabric is a new thing. And I'm trying to kind of learn about it at the moment because to be water resistant, to be functional and kind of have that cool Jill Sander 90s sportiness, it might not need to be made from, you know, bad things. So I don't know. I mean, what do you think?
- [54:10]
Alex Eagle
Yeah.
- [54:11]
Sophie Hodges
Yeah. I mean, all recycled things, but there's just a lot of greenwashing with all of it. So it's like, really trying to get to the bottom of, like, really what's it made from? Or really, does it matter if it's something that's going to be great and not end up going in the sale rack or thrown away? Hi.
- [54:30]
Alex Eagle
I was wondering about how you shape the business and if you have any idea on structuring, because I think a lot of the creatives that are very similar to what you do, they get that thriving, original thing kind of stolen or, like, it becomes somebody else's. I don't know.
- [54:50]
Home Depot Sponsor Voice
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- [54:51]
Sophie Hodges
Yeah.
- [54:52]
Alex Eagle
So how have you shaped your business so you can have all this taken in and shaping it really well, really
- [54:59]
Sophie Hodges
slowly, being patient, like, to a frustrating level where sometimes you can't afford to shoot a lookbook or a campaign or. A lot of people I work with do like four or five different jobs. You know, it's small, it's nimble, it's frustratingly slow, but at the same time, it's consistent like some of the things I made 10 years ago, scarf neck tops or the shapes of shirts I still make. So it forces you to be slow, not compromise because you don't have the money to then waste. So therefore you can keep it. But it does mean it's, it's slow. It does mean you don't maybe work too seasons you can't really wholesale you couldn't do. You know, it's doing things to your own ability and own budget and not being, trying to be part of a bigger schedule that is very hard to keep up with. And yeah, bringing in newness in by doing a collaboration or by showing things the same things in a new way. Just doing things on your own terms without compromising. Maybe because it's tempting to kind of take, try and get investment and do all the things you want to do. Do a perfume and do a big campaign with, you know, a big photographer. I don't know endless things, but I haven't done it. And I do look back and think I cringe at so many things. But at least nothing cost that much money, you know. Hi Alex, you said that you were really into Vogue and you worked at Harper's and I was just interested to know what you look at for inspiration now. Oh, I like that question. I think it's quite overwhelming again with the adhd. Like I look at my phone, I'm human. I do really try and look outside of the bubble of what we're all looking at. So the VA will always have great shows but it's really important to go and look at the non things that everyone's looking at. So everyone's looking at the same movies, the same shows, whether they're in Paris, London, not fashion shows, but like even art shows. Trying to look at archival things, random books, random photographers going deep on Pinterest, you know, you can research now, whatever. So you see like a chair in my world and you're like, why do I like that? Okay, it's by George Nakashima, who's George Nakashima? And you can go deep dive but it's trying not to look at something that you've seen already in a magazine spread or on a famous influences home or body. Just trying to find little things you love and then deep diving and not to accidentally be doing the same thing as everyone because everyone is doing the same thing. And so I don't know, geeking out on random little things because the world now has this ability to deep dive and find all this information about quite obscure things. Does that answer the question.
- [57:53]
Alex Eagle
Okay, Alex, thank you again. This was amazing. And thank you to Bicester Village and the whole team. And to Eric from Puck and everybody involved. And thank you all for coming. I hope you have a great time. I hope you do a lot of shopping. I don't see enough bags. Maybe you took them to the concierge already or something. But go do more shopping and have lunch or dinner at Odale Odlegi's.
- [58:12]
Sophie Hodges
Delicious. Have the curry. Thank you.
- [58:16]
Alex Eagle
Thank you.
- [58:19]
Lauren Sherman
Fashion People is a presentation of Odyssey in partnership with Puck. The show is produced and edited by Molly Nugent. Special thanks to Puck co founder John Kelly, executive editor Ben Landy, producer Maya Tribbit and director of editorial operations, Gabby Grossman. An additional thanks to the team at Odyssey, Kelly Turner and Bob Tabador. Your call has been forwarded to voicemail.
- [58:47]
Sophie Hodges
Hi, this is Zoe Deutch and Nick Robinson.
- [58:49]
Alex Eagle
Our brand new movie, Voicemails for Isabel is all about those little moments that feel like the universe is looking out, feeling homesick.
- [58:57]
Sophie Hodges
Then your sister calls, hearing that perfect
- [58:59]
Alex Eagle
song exactly when you need it. Please stay. Sometimes life rigs things in our favor, like learning about your new favorite rom com Voicemails for Isabel, now playing only on Netflix.