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The Who What Wear Podcast
Designer Emilia Wickstead on Modern Femininity, Bespoke Bridal, and Cinematic World-Building Through Clothes
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- [00:00]
Anna Laplaca
Foreign.
- [00:11]
Hilary Kerr
Welcome to the who what Wear? Podcast, your direct line to the designers, stylists, beauty experts, editors and tastemakers who are shaping the ever evolving world of fashion. I'm who what Wear's co founder and Chief Content officer, Hilary Kerr, and today I'm passing the mic to senior fashion editor Anna Laplaca to chat with the brilliant fashion designer Emilia Wickstead. Although originally from New Zealand, Emilia established her brand in London in 2008, and her label has since become synonymous with modern femininity. In today's episode, Emilia shares how being raised by a designer, spending time in Milan and working in retail all influenced her unique design process. She also gets into the specific elements that make an Emilia Wickstead piece so recognizable and how she uses other artists as muses. It's all coming up on who, what Where?
- [01:14]
Anna Laplaca
Amelia, thank you so much for joining me today. It's so nice to see you again.
- [01:19]
Emilia Wickstead
I know you too, but in a.
- [01:21]
Anna Laplaca
Different way, digitally this time.
- [01:23]
Emilia Wickstead
Yeah, exactly.
- [01:25]
Anna Laplaca
So I was lucky enough to get to join you in your hometown of Auckland last month for a very special story that I was writing about your custom designs for the Air New Zealand uniforms. And we spoke about your Kiwi roots and how you moved from Auckland to Milan at the age of 14 with your mother, who is also an artist and a designer.
- [01:50]
Emilia Wickstead
Yes.
- [01:50]
Anna Laplaca
So. So I'd love to start out if you can share a bit about your upbringing and how you first formed your relationship with fashion.
- [01:59]
Emilia Wickstead
Absolutely. So born and raised in New Zealand, as you said, and my mother, she was 24 at the time. She decided to go to tech, to study, to be a pattern maker and to sew clothing and essentially be a designer. That was the same year that I was born. So that's all I've really ever known. It was always just my mum and I in Auckland. And so I saw her business grow from its birth. And I got to understand and witness things that became incredibly inspiring without me even realizing. So every day after school, I would go to her studio or to her store and watch her fitting. Client after client, I would fill her pin cushions. I would get to understand from a very early age sort of what women wanted, essentially. And this was in the glory days of the 90s. So, of course, you know, you know, women were incredibly dressed up. And from New Zealand, that's a really big thing to say because New Zealand is quite a casual country. So in those days, I mean, I can still see the outfits now, my mother would have fashion shows at my aunt's house and everyone would get dressed up, and it was a feast for the eyes, let's say. And I guess that was my first introduction, really, to seeing women in matching jackets and trousers and dresses for occasion. And I guess that sort of, without me even realizing, was a huge influence.
- [03:17]
Anna Laplaca
That sounds so fabulous. No doubt that that had an influence on your design aesthetic, as today your brand is known for such a masterful balance between elegance and simplicity, but also a sense of whimsy and playfulness, reflecting your personal style and how you get dressed as well. So at what point in your upbringing did you feel like you had found this sense of your own personal style? And then when did you realize that that was something you wanted to translate into your brand?
- [03:50]
Emilia Wickstead
At Amelia Wickster, you know, addressing and discerning women, we have this dedication to quality and beauty above all else. We have this considered femininity, this precision and structure. But we're also quite experimental, and we design into a world of fantasy. And that's what is incredibly fashion forward about us as a brand. And so, interestingly enough, when I was very young, my mother said that it would always be a huge argument of what I would wear, even to nursery, because I would want to dress myself and wear all sorts of layers. And apparently I had to have days that were scheduled for when I dressed myself and when she would dress me, because I was so passionate about what I would wear and what I wanted to wear and very forthcoming with those ideas, and it was all a little crazy. But then into my early teens, when you start to get a feel of who you are and who you want to be, you know, I had hair cut like a boy. It was 2cm long, and I had flowers in my hair. Or I'd dress as a skater girl and I would only wear men's clothing. And then at one point, I only wore secondhand clothing, or I remember wearing, like, tutus. At one point I dyed my hair black and only wore black and had black lips.
- [04:54]
Anna Laplaca
Oh, my goodness.
- [04:54]
Emilia Wickstead
So it did all sorts of things and was just very free, I would say. And I think that's the beauty of growing up in New Zealand. And also, I'm quite surprised at how liberal my mother was with me. By the time I was a teenager, she had built quite an outstanding, brilliant brand. But when I did move to Milan at 14, I remember arriving with my very short boy haircut and all of a sudden seeing femininity everywhere and sort of thinking, oh, my goodness, maybe I'm going to try that out. I mean, In Milan in the 90s, early 2000s, it was the hub of fashion. Milan Fashion Week was the fashion week, or at least it felt so beautiful. Shoes, no one was casual. Everyone was dressed up. Every day was an occasion. And all of a sudden I guess I became incredibly fascinated with that and then transformed myself again.
- [05:40]
Anna Laplaca
So I know, I love that. I imagine that the transition from living in New Zealand to living in Milan was night and day growing up in that city in the late 90s, early 2000s. So I'm curious if that played a role in your interest professionally.
- [05:56]
Emilia Wickstead
Very much so. So we lived outside of Milan, but I went to school in Milan. I'd never seen a designer store in my life. My mother had her own business, but. But by no means was it sort of like a Prada or a Gucci. So I'd sort of walk down Monte Napoleoni and I would walk all around those streets and then I would go inside stores with my mother. When you talk about kids that go home and sort of read and do their homework, I was looking at designer stores.
- [06:18]
Anna Laplaca
A homework of another sort.
- [06:20]
Emilia Wickstead
Exactly. You know, we would look at garments. I couldn't like buy any of them, but we would look on the inside to look at the quality of the make and so forth. And I just became absolutely obsessed. I used to keep get the back page of the newspaper, which would be, you know, an advertisement for a designer brand and use it as a poster. I think the biggest designer store that we had in New Zealand at the time that I left at 14 was probably guess jeans. You know, at home even Vogue magazines or Harper's Bazaar would have to be air freighted to New Zealand. You couldn't go and buy them from a store. So this is very different. New Zealand has changed a lot, but so you can imagine, it was just almost like I'd arrived in paradise. And then I also had at school, school art teachers who were fashion illustrators as well and would tell stories about working for brands and designers. And I was just this little sponge taking in every little bit of it and dreaming up what my life was going to be like.
- [07:09]
Anna Laplaca
It sounds just magical. And then you ended up studying fashion at Central St. Martins where you then went on to work at Giorgio Armani Proenza schooler Narciso Rodriguez. So, so many amazing powerhouses. And then an internship at American Vogue. But I read that one of your favorite parts about starting out your work in this industry was actually helping out in the stores. So can you explain a little bit why and how that shop floor experience helped set the tone for your brand?
- [07:45]
Emilia Wickstead
Obviously it was Quite expensive for me to come and study at Central St. Martin's and so the deal was that I had to work three to four days in retail to sustain my life living in the UK and to pay for myself. I'd done many, many internships, advertising agencies. I tried to do basically a little bit of everything, but I'd never worked in retail. But that was honestly one of the best educations of my life. I remember the first day in retail, working in a shoe store, and I couldn't even speak to a customer. I was so shy. And then all of a sudden you gain this confidence and you understand how to talk to customers and how to serve customers. But most of all, as my experience grew over the years, I grew into big design house brands and got to work in retail and those brands and understanding absolutely what women wanted and being able to do that, you sort of realize that actually in order to be a great designer, it's one thing to design something brilliant, but it's another thing to be able to sell that dream and sell that vision. That helped me immensely when I decided that I wanted to start my own brand.
- [08:49]
Anna Laplaca
Do you ever find yourself popping into any boutiques IRL that carry Amelia?
- [08:56]
Emilia Wickstead
No, but in our own store on Sloane street, our flagship store, I love to do that. So if I ever have the opportunity, I could just sell all day. And actually a big part of when I come to the United States, which makes up 65% of our sales, I will often find myself with our partner stores, being in there, selling to customers, understanding who our American customer base is, and educating myself. Furthermore, because at the end of the day, I've got to understand exactly who I'm designing for and who has fallen in love with our vision and our world.
- [09:28]
Anna Laplaca
Speaking in terms of geographies, obviously, you have lived across Milan, Auckland, London, even New York for a short time. And your customer is equally global, I would argue. But, you know, ultimately you seem to have always come back to London and it's where you face the brand, it's where you show your collections biannually on the fashion calendar. And so I'm curious, why does London continue to feel like the right fit for you?
- [09:58]
Emilia Wickstead
So obviously, New Zealand is the place that made me who I am. But when I arrived in London for university, I just remember feeling absolutely connected to the city. And I remember thinking, I suddenly feel like I can absolutely be myself and I could be free, I could be experimental. I don't have to mold into being something that fits a certain culture or a certain place, which I Very much felt in Milan at the time. I think Milan is very different now. And so I think that that has been a gift. That stayed with me when I built Amelia Rickstead. That started in a living room, so it was very much from word of mouth. We're a very international city, so I was able to tap into lots of different markets without even trying, because everyone was very much based here. But it's been a great beginning, and it's very much home for my family and home for my business.
- [10:44]
Anna Laplaca
I love that London seems like a wonderful community in terms of bringing up younger, more independent designers and really championing them.
- [10:53]
Emilia Wickstead
It does. And it also has a lot of heritage. And I think that as a brand, we play on modernity, but we also play on a lot of old world heritage. And I think that's what we all fall in love with. And so it's brilliant that it can be so old world, like I said, but it can also be so incredibly adventurous with its forward thinking of individuals that live here.
- [11:14]
Anna Laplaca
Speaking of your inspirations and what you pull into your collections, I love that you are always finding inspiration through mediums outside of fashion, whether it be film or fine art. So can you share a little bit about what your creative process looks like in the ideation phase?
- [11:35]
Emilia Wickstead
So the creative process starts with color palette and fabric. And always a muse. I'm a total film buff, so I love films. That really gets my creative senses moving. The muse can be, for example, we use Hitchcock quite a lot, but it's not necessarily Hitchcock himself, but it might be the actress, and then I find out about her life and her history. Or it might be about the costume designer, and then that arrives at something completely different. Or it might be like Giselle Freund, who was one of the photographers. I was obsessed with the types of people she photographed, but then also the way she dressed herself. So it really depends. But I always say that a good collection is when I become obsessed with the muse. And if I don't, then it's perhaps not one of my strongest collections.
- [12:19]
Anna Laplaca
I love this sort of rabbit hole that you're describing. Going down every avenue for potential inspiration and seeing what strikes 100%.
- [12:29]
Emilia Wickstead
It's very important for me to have a cinematic lens with our color palettes. The way that we shoot things backstage, we just create worlds continuously. And my ideal scenario is that our customer looks at that world for that season, and they. They become so obsessed that they want to dress like that, style their hair like that. They want to embody whoever that muse is themselves.
- [12:53]
Anna Laplaca
I Think there's something so wonderful about stepping into character, in a way, and I think that that really comes through in your collections. It's very much a whole entire world, like you're saying.
- [13:04]
Emilia Wickstead
Also, I think everything has to have this sort of visual or emotional spark. I play a lot on nostalgia, so even the music that we play, if it doesn't pull your heartstrings in the correct way, then I feel like I done my job correctly. And that's all part of that vision and that world and that contemporary classicism.
- [13:22]
Anna Laplaca
That we play on season over season. Regardless of what the core of this cinematic world is that you're describing and who is the muse at that moment, there's such a strong through line with the great tailoring, beautiful, whimsical prints, all of these elements that feel like just truly Emilia Wickstead. So I'm curious, how long do you feel like it took you to really hone in on what these trademarks of the brand were going to be?
- [13:51]
Emilia Wickstead
So it's interesting because I think that I fell into a lot of them, because if you think about it, I started this business at 23, and I'm now 42. I was very naive, and I made a lot of mistakes, but I also was just so passionate and sort of industrious in the sense that I had all of these creative ideas. And interestingly, as different women came through the door, I was almost thinking, okay, like, they were my different characters and muses. How am I designing for them? So I sort of fell into that mold a little bit. You know, I've always wanted this brand to be a brand that we are investment pieces that you would take out an Emilia Wexter jacket, like you take out a Chanel jacket, and you pass that down the generations, and that we're always standing for. A refined, empowered woman who dresses with intent and joy. She wants to be noticed. I'm a big, big believer of how, like, clothing can be such an incredible tool to make you feel a certain way. You know, I really think about, you know, how am I helping a woman feel the best version of herself, and how am I helping her to walk into a meeting and feel incredibly powerful or to walk to the school gate and feel really confident as a mum on the school run, how can I elevate a woman's every day? And so that's my job.
- [15:09]
Anna Laplaca
No doubt that you've been hugely successful in that department, as there have been so many repeat wearers of your brand over time, from musicians and artists to actors, filmmakers. But I'M curious if there are any standout A list moments that you're especially proud of.
- [15:28]
Emilia Wickstead
The people that I feel most proud of dressing are just people that I don't know. This happened recently that I walked into an event and there were at least 10 women dressed in Amelia Wicks that I didn't know. And that feels like the biggest accomplishment of all. If I think of most recently, we dressed Emma Stone last month. And she is an incredible woman for so many different reasons. Not only obviously a talented artist and how open she is as a person about her character and her personality and her anxiety. And that makes it exceptional to dress someone not only talented, but someone that feels very real. Dressing Malala was pretty exceptional. We made a bespoke dress for her.
- [16:07]
Anna Laplaca
Incredible.
- [16:07]
Emilia Wickstead
You know, dressing a Mal Clooney to go to work. So Sabrina Carpenter, who my children will be playing her music, and we're all dancing to it. And to think, well, I'm dressing her, too, and dressing Serena Williams for a Vogue feature. I mean, I think there are so many different women that we dress. The list is long, and that's pretty exceptional.
- [16:26]
Anna Laplaca
That is an amazing list of women. I'm curious also, are there any names that you want to put out there into the universe that you would one day love to dress?
- [16:36]
Emilia Wickstead
That is a really good question. I'd love to dress Anna Wintour.
- [16:40]
Anna Laplaca
Oh, Anna. If you're listening, yes, she's an icon.
- [16:45]
Emilia Wickstead
If Diana Vreeland was still alive, I would have loved to have designed her wardrobe. She's the epitome of just being so incredibly intelligent, artistic, an incredible businesswoman, wife, mother, with a dynamic personality. And I think that could I design a wardrobe for anyone, I would love to have designed it for her.
- [17:03]
Anna Laplaca
Yes. She's somebody whose influence just continues to carry on over the years completely. I know that speaking back to your most recent collections, I feel like over the past season, or even two seasons, it's ventured a little bit into this moodier territory, which has been really fascinating to see. A few references that you've noted already, which include Hitchcock's the Birds and David Lynch's Twin Peaks, which is also a favorite of mine.
- [17:34]
Emilia Wickstead
I'm obsessed with Twin Peaks. Obsessed. Obsessed.
- [17:37]
Anna Laplaca
I have so much Twin Peaks merch that it's getting to a bad point. But I'm curious if this type of cinematic world, as we were saying, are indicative of where your collections might be headed in the future.
- [17:51]
Emilia Wickstead
I always say one of the best parts of being a female designer myself is I get to, like, wear all the clothing and See how it makes me feel. I love anything that feels nostalgic, anything that feels old world, anything that creates a mood. And so definitely with Hitchcock and with the birds. What I loved about that was from a cinematic point of view, all of the emotions that were played out throughout the film. So she was like, carefree and quite confident, and then all of a sudden she was very emotional and falling in love. But then there's so much trauma and horror that takes place. And so when you think of that being your inspiration for a collection, where do the moods and the emotions end? Really, you're only getting started by look one. And I remember the first look with her shirt for Autumn Winter, like, flapping as she walked, and she was rushing out onto the Runway. I love being able to evoke that mood and to create that scene. And I think also with our pre collection, Pre Fall, which is launching soon, we looked at Roberto Rossellini's film Journey to Italy. That's about love and passion, but divorce. And actually, when that film was being made, there was a divorce happening between the director and the actress. And so, so many emotions. And again, I get carried away with Rossellini's avant garde restraint and all these different parallels within the film. You find ways to almost put that into a collection in a directive way as well. I think that's all part of becoming more and more engrossed and obsessed in your inspiration. Perhaps my themes are becoming more compelling because I'm getting more drawn into them and it's more real. Right. You know, when I started the brand, you think that you have to do something in a certain way to get noticed. And I guess as you mature and get older, you sort of keep your head down and understand who you are and what you're doing. The rest follows in a more organic, better way.
- [19:39]
Anna Laplaca
As you mentioned, you have your pre fall collection coming out shortly. So for listeners looking to shop the pieces from the collection, what are some of the items that you are most excited about and what can you tell us about the whole world that this collection will embody?
- [19:56]
Emilia Wickstead
So I absolutely love this collection. This was the collection inspired by Rossellini's film Journey to Italy. It's filled with wonderful things that I love. In particular, I love we have a beautiful blue gingham story, which is like a mixture of painterly gingham lines, all in different hues of blue. There's this beautiful cotton summer dress that I've actually been wearing every day. Also, there is a favorite jacket and dress in the collection, which is in a single Wool crepe, beautiful apple green. It's called the Lisette jacket and it's the Leontine dress. And I also love the Collins dress. There's the two of them, which are in the green, but to be paired with this little short, boxy jacket, which has this very strong top stitching and big buttons, it feels very, very contemporary, but also like I could wear it. So those are my favorites. Something a little casual and something a little bit more suited.
- [20:44]
Anna Laplaca
Speaking of vacations and summer getaways, are there any special trips that you already know you'll be taking?
- [20:52]
Emilia Wickstead
So, actually, I'm going to the Cayman Islands. We've worked on a collaboration with Palm Heights, which is a hotel.
- [20:57]
Anna Laplaca
So exciting.
- [20:58]
Emilia Wickstead
It's going to be great. And so I am heading down there early August, and we have designed a capsule collection with them. It is a checkered story, chocolate brown with yellow and white with yellow. And we've done sort of these very kind of masculine oversized shirts and shorts and swimsuit pieces. But I honestly absolutely love them and think that's what I will be wearing all summer long.
- [21:19]
Anna Laplaca
Oh, I love that. I cannot wait to see that. Is such a fashion person collaboration as well. So pivoting a little bit more into the bridal business, I feel like you have built a wonderful market there and a huge share of your customers come to you for bridal specifically. And looking ahead to summer and fall, this is a huge time for weddings to be happening. And so I'm curious, how is this bespoke bridal business looking for 20, 25 brides? Are there any sort of themes that you're noticing?
- [21:54]
Emilia Wickstead
Well, I would firstly say I started bespoke bridal when I got married, which was many, many moons ago. And it's really interesting because the dress that I designed for myself, which was my first bespoke wedding dress, is one that keeps coming back. And I think what that tells me is that there's something very deeply personal and emotionally rich about dressing someone for their wedding and creating a bespoke design that is essentially just for them. But I think, you know, it goes back to timelessness. It goes back to looking back on that dress and that it doesn't necessarily age, but it has these beautiful architectural, clean lines, silhouettes, beautiful details. I think clean lines for bridal are really important, no matter how much embellishment or lace you can have. That's what I see repeatedly when we have bespoke customers that are coming to us for their wedding. They're looking for something that will honestly just stand the Test of time. And I think that we do that in a very modern way. You know, there's storytelling to all of our bespoke dresses. So for instance, Charlotte Santo Domingo, who we made her wedding dress some time ago, was married in Spain. And so there was an element of storytelling when we actually developed her fabric from scratch. And also her veil with the embroidered polka dots because that was all connected to Spanish costume and the setting and where she was and even the little spots that were all hand embroidered into her fabric. And even the design, she had a beautiful sort of curved built in capelet that was on top of her corset bodice. When we look at old world wedding dresses and we look at couture and we look at those things, those were our inspirations because they stood the test of time.
- [23:27]
Anna Laplaca
I have to ask about wedding guests as well. Are there any particular styles that you think will be dominating in terms of wedding guest attire this summer and this coming fall? Because I know that so many people come to you and your ready to wear collections for wedding guest dressing.
- [23:46]
Emilia Wickstead
So I can immediately answer that. We have a dress called the Eau Claire dress and I actually repeat this style in different florals in this season for pre fall. It's like pink on pink floral. And it's beautiful. It's strapless, it's held up by a corset, but it's got this sense of ease to it. And it has an inverted pleat at the front and it is in a fabric that molds to your body and doesn't crease too much either. And I think because of the style of print also that we place onto this dress, which is a beautiful architectural shape, as much as it's feminine, it feels very strong. But like I said, it just has a real ease to it. So that would be quintessential dress to wear to a wedding. And also we have this beautiful foiled Jaipur gold dress, which is strapless also, but more of a fitted silhouette. And again, I think that that is if you're going to sort of a black tie or an evening wedding. It's a really, really beautiful, detailed, but also simplistic silhouette. I think that's a brilliant dress this season to wear to a wedding. Also stunning.
- [24:45]
Anna Laplaca
I can't wait to see whoever ends up wearing them.
- [24:49]
Emilia Wickstead
Me too.
- [24:51]
Anna Laplaca
I believe you're also doing a collaboration Paperless post. So very exciting news as we have many recently engaged listeners who I'm sure will want in on that. Please tell me about this collaboration and what we can expect.
- [25:06]
Emilia Wickstead
I got a little carried away when we were designing the invitations. As an avid user of Paperless Post, I'm pretty excited that I get to have my very own invitations. But I guess what it brings to the Amelia Rexted world is just a new canvas for us. And I've always been heavily in love with stationery and written notes and even sending an invitation for dinner as opposed to just a text message or a WhatsApp message. And I think that plays on a little bit of old world. So I've collected so many inspirations over the years and kept invitations that I've received and things that I've loved. So this also was a really organic, beautiful project to work on. And I think that you'll see sort of everything from timeless floral motifs to some very loud, kind of vibrant colors. And then you'll also see ornate edges, floral, of course, textured finishes, a lot of moire, the color, because I love moire as a texture. But ultimately, I think these invites for Pepler's post, they're love letters to celebration. I love the idea that these will become a part of people's cherished occasions and creating lasting memories in a way that we try to do with clothing as well. So this is just another Emilia Wigstead world moment, but on a slightly different canvas.
- [26:21]
Anna Laplaca
Yeah, it feels quite organic. So I can't wait to see how that turns out and just taking it back a little bit to this wider scope. You've obviously built such an incredible brand over many years, and credit a lot of that to taking the time to really understand women and what they want and what they feel they're best in. Recently in fashion, there's been a lot of discourse about a disproportionate number of men are holding these top roles. You are very outspoken about this, and your world is made by women for women. And so I'm curious your thoughts here.
- [26:58]
Emilia Wickstead
So we are all women of Amelia Wexted. We have one man and our 45 members of staff. So designing for women by women means that our decisions are rooted in lived experience. And I think that is something very unique, and we feel very lucky to have that. So we've got a certain empathy, I guess, which has shaped everything that we do, from fit to. To styling to communication. And ultimately, it makes the brand feel truly personal and empowered.
- [27:26]
Anna Laplaca
I love that. And you are wearing all of the designs, as you mentioned.
- [27:31]
Emilia Wickstead
Get to trial 100%, absolutely everything.
- [27:34]
Anna Laplaca
Well, before I let you go, I'd love to hear about, really, anyone that might be inspiring you in the fashion space right now. Whether that be an exciting designer or exciting new talent or even just a piece of film or literature that is inspiring you at the moment.
- [27:53]
Emilia Wickstead
I'm always inspired by the young British designers that become part of Fashion Week, because I was obviously once one of those, but they've sort of got this experimental tone and this freedom about them. And I think that sometimes it's just really good to remind ourselves that that is what fashion is about. But not only that, that's what being, you know, an independent individual is all about, too. And I think London really celebrates that. So that always makes me incredibly happy. And then I always think to myself, oh, goodness, now they've got to build that business model and I've got my little light business hat on. But they always inspire me. Very much so. And so when it is London Fashion Week, I love seeing people on those journeys because that's how I started, and it wasn't easy. It's amazing to see this constant renewal in the British fashion industry, and I think that's really, really important for any fashion industry culture and community.
- [28:46]
Anna Laplaca
London has just a wonderful community that seems to really kind of uphold and champion these younger, newer designers. And it has this almost rebellious energy, kind of how you were describing earlier, that really just allows creativity to flourish in a way that I think it's very unique to the city and the UK in comparison to some of the other fashion cities. So, yeah, it's what makes London a personal favorite.
- [29:12]
Emilia Wickstead
Oh, good. We'll come back anytime.
- [29:14]
Anna Laplaca
Definitely. Need to thank you so much for taking the time to chat with me. Lovely to reconnect with you, and I'm so excited for the new collections and collaborations to come.
- [29:26]
Emilia Wickstead
Oh, thank you so much and thank you for your time and thank you for having me.
- [29:35]
Hilary Kerr
A huge thank you to senior fashion editor Anna Laplaca and fashion designer Emilia Wickstead. Make sure to subscribe to our show wherever you listen to podcasts so you don't miss an episode. And while you're there, I'd also be so grateful if you'd rate and review us. If you have any guest suggestions or any other feedback, drop us us a line atpodcastwhowhatwhere.com or you can find us on social @WhoWhatWere. See you next Wednesday on the who what Where? Podcast. This episode was produced by Hilary Kerr, Summer Hammeris and Natalie Thurman. Our production assistant is Claire Schmidt. Our editor is Ko Takasuki Chernovin. Our audio engineers are at Glen Canyon Audio, and our music is by Jonathan Leahy.