NYFW: Hong Kong Fashion
The fashion world is known for having its own rules and trends, for being on a different level with its cutting-edge designs, fabrics and colors. But the glitz and glamour don’t exist in a bubble. With the rapid-fire spread of COVID-19, Fashion Week was turned on its head around the globe — especially in Milan and Paris. Design houses handed out face masks to guests before the start of their shows. Even Chanel and Louis Vuitton’s U.S. communications teams were instructed to stay home, skipping Milan and Paris shows altogether. Giorgio Armani did the usual designer runway bow at the end of his show, but to an empty theater.
The scene looked different during New York Fashion Week, which took place in February. The Hong Kong Trade Development Council (HKTDC) held the Fashion Hong Kong Runway Show at Spring Studios in New York City, showcasing three up-and-coming Hong Kong designers: HEAVEN PLEASE+, Harrison Wong and SUN=SEN. This was before we saw COVID-19 cases in all 50 U.S. states and before restrictions were put in place.
Established in 1966 to promote, assist and develop Hong Kong’s trade, HKTDC organizes international events to create business opportunities, with a focus on small- to medium-sized enterprises. HKTDC participates in fashion weeks in New York, Paris, Copenhagen, Tokyo, Seoul and Shanghai to promote their fashion designers and labels.
While most of the world has to stay indoors right now, enjoy each Hong Kong designer’s fall/winter 2020 collections.
XX
Ivy
HEAVEN PLEASE+
Designer: Larry Cheung and Yi Chan
They founded their brand in 2011 and launched the first collection in 2012. They aim to bring “individuality to simple clothing, so that the looks of people can speak genuinely for themselves.”
FW20 Collection: “Girl, You’ll be a Woman Soon”
Inspiration: Princess of Wales and traditional British royal costumes
Fashion Editor Notes: I instantly thought of the film “Little Women.” There was a look for all of the March sisters. The pinstripe blazer and printed maxi skirt was perfect for Jo; the purple plaid and black tulle look had Amy written all over it; the off-the-shoulder beige maxi dress for Meg; and the track ruffled floral jacket with matching asymmetrical skirt for Beth.
HARRISON WONG
Designer: Harrison Wong
Wong is a winner of both the Hong Kong Young Designer’s Contest and Grand Prix Contest in Japan. His designs can be found in high-profile shops such as L’Eclaireur in Paris and Harvey Nichols in Hong Kong.
FW20 Collection: Abstract Composition
Inspiration: Abstract visual art
Fashion Editor Notes: I’m very much into these simple and structured, lined looks. These looks are very “Timothée Chalamet” (the actor who plays Laurie in “Little Women”), especially the short, green, double-breasted trench with mauve piping, paired with a mauve sweater and gray trousers.
SUN=SEN
Designer: Sun Lam
Lam is from a family with a garment background. She “seeks to work with something unexpected and fun, with the intention of bringing these elements into the traditional clothing industry.”
FW20 Collection: “I Swear I’m A Nice Ghost”
Inspiration: ‘90s vintage streetwear with a mysterious sense of unknown romance
Fashion Editor Notes: Playful and pops of color. Some looks definitely reminded me of the ‘90s and the show “In Living Color.”
A Poetic Halloween
I don’t know anyone that doesn’t like Halloween. It’s the one day of the year we get to be someone else without any judgment and it’s all in fun whether scary, slutty or sweet. We all get the opportunity to step into another universe! Some goes as far as getting into character but we won't entertain that here as I’m more of a behind of the scenes (obviously) kind of person. A couple years ago, I dressed up as Janet Jackson’s character “Justice” from the classic ‘90s film, Poetic Justice. Only those who were raised in the ‘90s and perhaps early aughts would appreciate this character. My son happily participated in dressing the part as Tupac Shakur’s character “Lucky” for the gram. Thanks to Amazon, you don’t have to go too far to source some Halloween costumes. Also, from now on I think it would behoove us all to give credit to the costume designers who create these characters looks. In this case, kudos to Darryle Johnson!
Here’s the inspo and final product with links to become Poetic Justice for the day:
Costume Concept Artist Darell Fuentes Reveals His Inspirations
I had the pleasure of sitting down with Darell Fuentes, a costume concept artist, about his journey as a creative in the TV/film industry. For him, it was an “innate calling he had to fulfill.” He started drawing at three years old, using crayons to draw “Transformers” characters. In college, he developed his skills by studying in the Illustration/Costume program at Cal State University Long Beach. He freelanced for years, and it wasn’t until he went to Comic-Con, where there was a Costume Designers Guild panel for illustrators, that he had an epiphany it was possible to have a full-time career out of his gift. Sure enough, with his sheer grit and determination, Darell was able to do this full time, working with the costume designer of “The Matrix” trilogy, Kym Barrett. From there, he would work with Suttirat Anne Larlarb on “Obiwan” and the “Star Wars” trilogy on Disney+. It seems as if he’s just getting started, but in hindsight, he’s been working for this moment for many years.
This interview has been edited for clarity and brevity.
IP: We share the same motherland, the Philippines, which I love because we have this instant kinship, especially in an industry where we are few behind the scenes, let alone seldom reflected on the big screen. I’m thrilled to chat about your journey and success.
DF: I feel very much the same, Ivy. The industry is hard enough, and the limited chances to find kinship and shared experiences can make it feel tougher. I’ve made a number of friends quite easily just by being Filipino. I remember when I traveled to Sydney, Australia, to visit my team who were filming “Shang-Chi.” The first night I was out, the host sat me at the sushi bar next to a Filipina girl and her husband, and the first thing she said was, “Are you Filipino?” in her Australian accent, and then said, “My mom told me, whenever you see a Filipino, talk to them.” I finished dinner with them, and they then took me to a speakeasy I would’ve never known was in the area, and we hung out until 2 a.m. We still keep in touch.
IP: Who was your biggest inspiration that you would attribute your career to?
DF: My biggest inspiration will always be my mother. She had me late at 39 years old. I’m her only child, and I have no father in my life. Around 7 years old, my mom decided to move us from the Philippines to California. Starting from scratch at 46 with not a lot of money, she suffered through so much hardship for me. One story she told me about a time in elementary school, during Career Day, we shared what we want to be when we grow up. I said, “I just want to draw.” The teacher reached out to my mom and encouraged her to tell me to give up and that I’m wasting my time, and art isn’t going to get me anywhere. My mom is a very practical woman, and it made her furious. She then told me, “You will be whatever you choose to be in this world. Do you understand?” I nodded yes. I think I would have always pursued what I am now, but the support from my mother is so valuable.
IP: Where do you draw your inspiration from when you’re working on a project?
DF: My primary inspiration that I carry on any project I become a part of is being able to improve my tradecraft of being better at making art. Being able to draw better, paint better, be faster and more consistent in what I do. That fundamental principle is what helps carry me forward in general, and every project I become a part of is an opportunity to explore those things. Every project is usually quite different, with a whole slew of varying experiences.
IP: What advice would you give someone who’s interested in working as an illustrator?
DF: As an illustrator, you have to be able to train all of your techniques to get to an intuitive level. Whether it’s traditional mediums or digital mediums like Photoshop, the principles for creating art are largely the same. Traditional and digital mediums are both tools used to execute your art vision. Always try to improve from one art piece to the next, even if it’s a little. As the years go by, all those little improvements will add up. You have to be diligent with doing the habits that will make you better. It’s like that old saying, “The best time to plant a tree was 25 years ago.” You have to do things now and stick to it. We have to make decisions in our lives based on our courage instead of our fears.
IP: Recently, you worked with Costume Designer Suttirat Anne Larlarb for “Star Wars” on Disney+. Could you share what it was like to work on something so epic that is “Star Wars” x Suttirat Anne Larlarb?!
DF: From the bottom of my heart, Suttirat is truly special. It’s not just her extraordinary talent and dedication to her tradecraft, but it’s also the little things unique to her you see day to day in between moments when working with her. Each costume designer has their own rhythm and processes of how they work. Suttirat is unique in a way where she illustrates as well in the more traditional forms and aesthetics of how fashion designers would illustrate, and she does it very well. She’ll take some time to herself to sit in a room and really sort out the designs by drawing all her ideas out. By the time it gets to me, the designs are pretty much all done, and we’re really sorting through the details, like color palettes, textures, fabrics, and how the illustration should feel. For this particular show, her request from me was to essentially create a concept art aesthetic that can be on par with what Lucasfilm is accustomed to seeing so we can properly communicate her ideas. Lucasfilm is such a visual, development-heavy type of studio and communicating through artwork is a natural part of their process on all their shows.
From the beginning, we talked about how, statistically and historically, there aren’t as many roles in our industry as occupied by Asian talent, especially in costume design, comparatively to other demographics, so we understand the additional value of what we are able to be a part of in regards to being able to represent our community well.
It’s important for all of us to be great at our tradecrafts, first and foremost. From my perspective, being Asian is not first but being great at the things we choose to do. Be great first. Be great in your tradecraft and be great as a person, and people will see the value of you. A lot of people seem to believe what we do and who we are can be separate things, and that’s not true. We should strive to be the best version of ourselves as people and the best version of ourselves in our chosen tradecrafts, and those two things will always be together. So when we finally become the ones good enough and the ones close enough in proximity to bigger opportunities, we are able to shoulder all the expectations required from us on a day-to-day basis, and while being great at it, understanding the additional value of what our body of work and who we are can mean to other Asians, so we can shoulder that as well and represent for our beloved communities.
Follow the work of Darell Fuentes on Instagram or on his website.
Image credits: Darell Fuentes
The Batman
Ahead of ‘The Batman’ opening today, I was invited to its NYC world premiere on behalf of Mochi Magazine. It is an invitation you do not decline so I happily rsvp’d myself with a plus one (a rarity.) I’m not one to take part in spoilers. As a matter of fact, I avoid social media by all means so I go in the theater with no expectations. I won’t say much about the film itself and probably won’t share anything you don’t already know. I will leave you with four things and that’s it. One, Zoë Kravitz is stunning and hot as Catwoman. Secondly, I prefer Robert Pattinson as Batman over the others. Third, I was so surprised to hear Colin Farell was in the film because he was unrecognizable. Shouts to the glam team - hair, makeup, and the costume designer - for doing a number on Penguin. Lastly, the film was a bit on the long side for most but I wasn’t bothered by it.
It’s a cold day in Gotham City so I highly suggest staying indoors and watching this film in a theater near you! Here are some pictures from the NYC premiere at Lincoln Center to get you started.
xx your poison ivy
Image Credits: Dave Allocca/Starpix
Dressing a New World with Helen Huang, Costume Designer of “Station Eleven”
HBO Max’s latest dystopian miniseries “Station Eleven” (released Dec. 16, 2021) tells the stories of survivors of a devastating flu that turned the world upside down. Sound familiar? Based on the 2014 novel of the same name, the 10-episode series goes back and forth between different characters’ perspectives, pre- and post-apocalypse. It’s a captivating premise for us viewers who are still living through the COVID-19 pandemic, and the post-pandemic world that parallels our own comes to life through its innovative costumes.
We had the opportunity to chat with the woman behind the entire look of this post-pandemic world: Helen Huang.
Huang is an Emmy– and CDGA Award-winning costume designer based in Los Angeles. Known for her most recent work for “Station Eleven” and Apple TV’s “The Shrink Next Door,” her other credits include “Holidate,” “Tall Girl,” and “Rim of the World” for Netflix. She also designed for FOX’s “911,” NBC’s “The Night Shift,” FX’s “American Horror Story: Roanoke,” and MGM’s “Get Shorty.”
Her career began in the fashion editorial world and commercials. However, it was through scripted TV and film that she found her true calling, as it combines her love of art and storytelling. She relies heavily on historical reference, literature, and fine arts for her projects, but is greatly inspired by the study of people and cultures. Her north star, so to speak, is to draw inspiration from real life because life itself is always stranger than fiction.
As we chatted with Huang, we learned what it was like to design this fictional post-pandemic world during a real-life pandemic. Continue reading to delve deeper into her process, her favorite costume on the show, and what’s on the horizon for Huang.
IP: Can you walk us through the creative process for “Station Eleven”? Do you have the same approach with every project, or is it different?
HH: My creative approach is always the same. I first go through the script and analyze it. Then I usually have extensive conversations with the director or creator about the project to further pinpoint what they’re thinking and what their aesthetic goals are. I’m a very visual person, so I take the information from the script and conversations and compose a visual deck (mood board) for what I think costumes on the project should look like. The visual deck can contain images from photography, art, [and] film; and often the images are not necessarily always about the clothing. What I’m trying to achieve and communicate is the overall feeling and perspective for what I’m working on.
For “Station Eleven,” I wanted the costumes to read realistic and surreal at the same time. I also wanted to showcase a world of art, creativity, and humor, even when the people in “Station Eleven” were going through dire times. The other unique thing about “Station Eleven” was the switching back and forth between the different timelines — traveling from the present to the future. There were also many makeshift cultures and subcultures that existed in the future. So we started by trying to find the vocabulary of how to differentiate these groups.
I really thought about how people dress when they have resources versus when they don’t have resources. I looked at photojournalistic pictures of people all around the world to see the nuances between how creative people dressed, how nomadic societies dressed, and what people wear to address practical and environmental needs. Even though the future elements of “Station Eleven” can be surreal, I wanted to ground the world in reality and then build outward.
IP: As you’re designing, are you thinking of the character arc, or are you focused on where they are in the current episode?
HH: You have to think of both in order to be successful. The arc comes from the overall script or episodes if you’re doing a TV show. When I start a fitting, I will have notes on the general arc of the character as well as arcs for the show. I will always talk to the actors about them and together try different solutions to express the arc.
But big arcs are only half the story. Attention must be paid to what is happening in each scene in the episodes. The decision for the clothing chosen for those instances can range anywhere, from what space the character is in to how the characters are interacting with each other in the sequence.
IP: When designing this project, did you get any inspiration from current events, i.e., the pandemic and COVID-19 world?
HH: We did episodes 1 and 3 before the pandemic hit and the rest during the pandemic. There were some things I observed during lockdown that I included in the final product, like how people returned to craft and how making things became a coping mechanism.
IP: How was it collaborating with director Hiro Murai?
HH: Hiro is wonderful. He’s the perfect collaborator. He’s alway accessible and present. He is a great communicator and listener, but most of all he trusts his department heads. He would give notes on the general feelings that he wants to convey, but he really trusts his department heads to come up with the answers.
IP: What are the differences between working on a limited series and a feature film? Do you use the same process?
HH: TV is much faster. We were block shooting, so it was like we were working on a huge movie but with only half the prep time. Aside from that, everything is the exact same. It still takes as much dedication.
IP: What was the biggest challenge for you while working on this show, considering it has parallels to how we’re living at the moment?
HH: A big part of making this show was the experience of prepping and shooting in the middle of a pandemic. We had finished two episodes before going down for a break and then the pandemic happened. After that, they moved the production to Toronto, which was in lockdown. So we were facing a lot of issues with how to get our hand on the resources we needed in order to get the designs on screen. It forced us to problem solve in unconventional ways. Thrifting became a big part of the solution because only secondhand clothing warehouses would let us in to shop. About 70 percent of the clothing on the show is thrifted, and that included most of the components for the play costumes. We used everything we could find. Cardboard, plastics, blankets, toilet paper rolls; you name it, we used it. In the end, due to our fantastic team of shoppers, tailors and ager/dyers, we were able to produce a visual product that is this amazing combination of human innovation and problem solving — much like the characters in the show itself.
IP: Do you have a favorite costume on the show?
HH: Dr. Eleven’s is my favorite costume because it was a big design feat. I drew and had my costume illustrator redraw so many variations. On top of that, we had many challenges of fabricating it into reality. It was a fantastic lesson in design meets function.
IP: Now that “Station Eleven” is complete, would you change anything or keep everything the same?
HH: Of course I would have liked more prep time, and more time to camera-test things, but as a whole, the show came out so beautifully. It’s an amazing achievement by a whole team of dedicated costumers and artisans.
IP: Do you have a preference in the projects you do, i.e., period piece or contemporary?
HH: I used to say that I love it all, as long as the show or film has an interesting point of view. But now, I am leaning towards period/ fantasy/sci-fi. I love fabrics and constructions and working with artisans. It’s incredible to make clothing from the ground up, to think of new ways and visual concepts to describe characters and worlds. So I would love to explore more projects like that in the future.
IP: What are you looking to design next?
HH: I’m on a project called “Beef” that I am really excited about. It stars Steven Yeun and Ali Wong.
Follow Helen Huang on Instagram @hellyhuang and helenhuangcostumes.com.
Cover photo credit: Ian Watson/HBO Max
Interview with Julie Oh: Producing Netflix’s “tick, tick…BOOM!”
In early November, Mochi Magazine attended the New York premiere of “tick, tick…BOOM!”, a Netflix feature adaptation of Jonathan Larson’s semi-autobiographical musical, and we had the pleasure of chatting with Julie Oh, the producer who made it all happen. A force to be reckoned with, Oh began her career as a development executive at Scott Rudin Productions after graduating from the University of California, San Diego. She previously helped launch Imagine Entertainment’s Pod Producer program after joining the company as vice president of development, and she was also vice president of production and development at The Weinstein Company, overseeing projects in film, television, and theater. In 2021, Oh launched her own production label, OhCo, where she is currently under a first-look deal with Chernin Entertainment.
Mochi talked to Oh about the highlights of working on “tick, tick…BOOM!” (including collaborating with first-time director Lin-Manuel Miranda), how this project came to be, and her experience as a producer.
This interview has been lightly edited for brevity and clarity.
IP: How was it working on this project with Lin-Manuel Miranda, especially with it being his directorial debut?
JO: This may have been Lin’s first time officially stepping into the role of director, but he’s been a storyteller his entire life. His artistic integrity and commitment to getting [the story] right is an incredible thing to witness. He knows exactly where he wants to take every moment, and he leads with a beautiful combination of confidence and humility. When Lin is directing, he’s lifting everyone around him up and bringing out their best work.
The greatest thing you can ask for as a producer is to work with a director who is a bold leader and a thoughtful collaborator, and Lin is both of those things and so much more. On top of that, he radiates so much optimism and positivity. That joy fueled our work every single day. Whether through singing, sharing a mind-blowing anecdote about theater or film history, or even leading a group planking session mid-meeting to get our energy flowing, this movie was made with lots of laughter — and that starts with Lin. Often, I’d hear a huge burst of laughter and bark of joy from Lin right before he would call “Cut!” on a take, and that spirit is emblematic of how we made the film.
IP: How was it bringing this musical to the big screen, as well as working with such a diverse cast?
JO: Casting is one of my favorite parts of the process because you get to finally meet your characters for the first time. Andrew Garfield was the first actor who joined us, right after we had our first draft from Steven Levenson, during our first workshop in the summer of 2018. Andrew had just finished his Tony Award-winning run playing Prior Walter in “Angels in America,” and we got to watch as he [began portraying] Jonathan Larson. He just threw himself in deeper from there to embody Jonathan’s spirit, learning to sing, play the piano, and perform in a way that he’d never done before in his career.
We knew the minute we met Robin de Jesús that he was tapping into something special. Not only does Robin bring a soulful and kind energy to the character, it was crucial to us that this character be played by an actor who was out. Also, we were casting a character who is a high-powered marketing executive, and there’s a certain known archetype that might [emerge] because we’ve seen it on the screen before. But what you see in Robin’s version of Michael is completely different — he’s a Latino LGBT man who hasn’t lost his dream of being an artist, but is putting himself into a corporate structure because that’s his version of choosing himself and choosing the best life for himself. But through it, he still understands the importance of creativity and dreaming, and that’s why he’s able to be the most supportive and loving friend to Andrew’s character, Jon. Robin was cast as Michael because he brought the most authentic, human presence to the character, and we wouldn’t have that if we were looking for something prototypical.
“As a producer, getting to protect that space, watch the magic happen and see the results reflected in every detail…was a dream.”
IP: How did you get involved in this project?
JO: In the summer of 2014, I was incredibly lucky to attend one of only a handful of performances of “tick, tick…BOOM!” at Encores!, which is a program dedicated to bringing groundbreaking musicals back to NYC for incredibly limited runs. This was months before “Hamilton” would begin rehearsals and Lin-Manuel Miranda played “Jon,” Leslie Odom, Jr. played “Michael,” and Karen Olivo was “Susan.”
That performance was my introduction to both the musical and the story of Jonathan Larson, and I felt like I had been hit by a bolt of lightning. It felt like Jonathan Larson was speaking directly to me and it felt like it was written for me. That night kicked off what ultimately was a years-long process to secure the rights and adapt the musical into a film. For the next two years after seeing the Encores! performance, encouraged by Jonathan Mills (the agent who represents the Larson estate), I sought answers to the questions I had: How would I put this together? And how could I ensure that this would be done in the right way?
In 2016, it finally clicked for me. I realized the answer was in front of me the entire time. Even though Lin-Manuel Miranda had never directed a movie before, I knew he was the right person because his passion for storytelling is innate and he deeply understands the complicated themes and emotions of this story.
I had no idea what Lin would think, but Julie Larson [Jonathan Larson’s sister and the film’s executive producer] gave me her blessing. With the help of Lin’s agent, John Buzzetti, I reached out to Lin and asked if he would be interested in directing “tick, tick…BOOM!” as a film. I’ve never gotten a quicker reply. From our first meeting on this project, it was obvious that we both understood why this film needed to exist and the responsibility of telling Jon’s story the right way.
IP: What did you like most about working on this particular project?
JO: It seems too on the nose that a film that is a love letter to the creative process would, in turn, have its own lovely creative process, but it’s true. Every step of making this film was thoughtful and meticulous, and we had the time and space necessary to explore threads, ask questions, and pressure test every element until it came together exactly as it needed to. As a producer, getting to protect that space, watch the magic happen, and see the results reflected in every detail — from Steven Levenson’s screenplay, to the performances, the production design, and the music, and so on — was a dream.
On top of that, Jonathan Larson personally had so much respect and admiration for those who came before him, and that was a foundational part of “tick, tick…BOOM!”. Jon had huge respect for [composer and lyricist] Stephen Sondheim, whose mentorship was the fuel that kept him going, and we sought to bring elements of that into the movie.
We are especially thankful that our creative heroes saw what we were doing and came to the table for the film, especially as we were shooting in a pre-vaccine world. The film would not be complete without Stephen Sondheim’s voice, Bernadette Peters’ acknowledgement of Jon during “Sunday,” Rosa Stevens’ very real advice perfectly delivered by Judith Light, and every other incredibly talented human who gave their time, talent, and energy to the film. I don’t know that I’ll ever have the privilege again of working on a story that allows for this level of acknowledgement to the greats who have come before you, and I personally loved every moment.
“When I realized that producing was a job that I could have to make my life’s work, it was like a lightbulb went off and I had found my calling.”
IP: How did you become interested in being a producer?
JO: It’s hard to know what’s possible if you aren’t able to see it with your own eyes. When I was younger, I didn’t know that producing was something someone who looks like me could do, but I knew that I found all forms of storytelling intoxicating. It didn’t matter if it was a book, a movie, or even a music video — I was like a moth to a flame, and that magnetism is what initially led me to film and television.
Growing up, I had seen the credits on movies I watched — executive producer, producer, associate producer — but had no idea what they actually meant. My greater questions when I was getting started were: How did the movies and TV shows I loved get made? Who was responsible for bringing them to life? As I started doing my own research, I realized that almost every single element involved a producer in some capacity. When I realized that producing was actually a job that I could have to make my life’s work, it was like a lightbulb went off and I had found my calling.
IP: What advice would you give to an aspiring producer, especially a young Asian American woman who is finding her way in the industry?
JO: To me, producing is all about passion, intention, and efficacy. To do it at the highest level, you need to become an expert on how to guide a project through many different kinds of situations and challenges. As a producer, people are relying on you, and you have a real responsibility to work tirelessly to bring a story to life. I spent over a decade working for very experienced producers who have built their careers championing directors, writers, and stories that matter, and [I] tried to learn every aspect of the industry from them. That way, when I sat in the [producer’s] chair, I would be doing so having spent time learning from people who came before me. Even now, I learn something new every day, and that education and knowledge is crucial because it’s something everlasting. You take it with you no matter where you go.
IP: What projects are you looking to produce?
JO: During the early months of the pandemic, when our “tick, tick…BOOM!” shoot was interrupted and we were still trying to figure out a safe production path forward, I found myself sitting at home for the first time in over a decade. This new and uncertain space was the right thing to push me and say, “You’ve put your Malcolm Gladwell 10,000 hours in — what’s next?” It led me to take the leap of faith and launch a production company, OhCo, and find the right partners to support that endeavor. We have a first-look deal with Chernin Entertainment, run by Peter Chernin and Jenno Topping, two powerhouse producers and wonderfully supportive humans whose guidance over the last year has been invaluable as I’ve taken this step.
I aspire to produce stories that are exciting, elevated, and contain universal themes. The best stories are those that take you on a ride, deeply move you, and make you immediately want to share it with as many people as possible.
When considering material, I ask myself: Why is this important? Why is this ambitious? And why am I the right champion for this? We are building a slate now that is filled with projects that have an undeniable answer to these questions.
Watch “tick, tick…BOOM!”, released on Nov. 12, 2021, on Netflix.
Photo credit: Netflix
Dressing James Bond: Interview with Costume Designer, Suttirat Anne Lalarb
In anticipation of “No Time To Die,” the 25th film in the James Bond series, Mochi Magazine sat with the woman behind the costumes, Suttirat Anne Lalarb. We chatted about the Bond legacy and respecting what came before as part of her design process. If you haven’t already seen it, check out the movie trailer, teasing the film’s U.S. release on Oct. 8, for a glimpse of Lalarb’s work. (Quiz: Is the dress worn by Ana de Armas black or blue? Read the rest of the interview to find out the answer!)
This interview has been edited for clarity and brevity.
IP: It’s such a treat to finally meet the person behind the costumes of “Slumdog Millionaire” and “Steve Jobs” — which is one of my favorite films — and the 2018 Summer Olympics Opening Ceremony. Last year, we were supposed to do an in-person interview but due to the pandemic, we couldn’t. So we’ve been waiting for this day to chat with you about costume design and the long-awaited film, “No Time To Die,” which is being released next month. How does it feel now that the world finally gets to see it in theaters?
SAL: I’ve been waiting, too! It’s really exciting. I’m like everyone in the pandemic — locked away, working, and doing whatever I’m doing. But I can’t wait to see it!
IP: What was your design process? Did you feel any pressure to maintain the 007 sultry legacy?
SAL: Yeah, definitely, you have to. It would be irresponsible not to pay attention and imbibe what had come before. This is Daniel Craig’s fifth installment as Bond so there’s a certain continuity of character — and I don’t mean character as a personage in the film, but character as in his character. So I wanted to make sure the journey he’s on in this film makes sense with the journey he’s been on over the course of the last four films he was in.
Then, of course, this chapter of Bond — how does it fit into the whole lexicon of all the Bonds? With something that has been so successful, definitive, and iconic, not just as a film franchise, but as this character in particular, I don’t think you can really safely attend to it with the respect that it deserves. It doesn’t mean you’re necessarily mining from what came before, but you can, at least, have it floating through your cells when making decisions. You can either decide to pay homage to a certain version of Bond, a certain scene, certain sequence, and certain look, or you can decide to reject it and go somewhere else. But know why you’re doing it and that you’ve done it.
IP: Did you feel added pressure since this may be Craig’s last hurrah?
SAL: Absolutely. You want to make sure Bond leaves the same kind of impression he’s left with every version of himself throughout the history of the film. Also, in this film, he’s a very different Bond than the previous one. He’s this strong, silent, brooding adventurer that he’s been in all the other films, but there’s another emotionally vulnerable layer that’s been exposed [in this film] and in various degrees over the last few films. So there is another layer to the costumes that helps project this.
IP: We get a little taste from the trailer of the whole look of the film, but it’s nice to hear from the designer on their vision and/or intention for the whole aesthetic of the film.
SAL: You have this heavy responsibility to make sure you’re respecting what came before you and understand certain things. I wouldn’t call them rules, but some earned certain truths about Bonds that it’d be weird to stray from. Also, there’s constant negotiation — whether I’m trying to work out a look in a drawing, or out shopping to get inspiration, or collaborating with a designer like Tom Ford on a few key pieces. I definitely want to make sure it’s working for the character in the scene and what action is required. Some may want to have a sort of checklist of all the brands Bond wears. However, my approach is to make sure Daniel Craig has whatever he needs, so he’s wearing clothes as the character, as opposed to the clothes wearing him. It’s really important to make sure the style doesn’t constantly supersede the substance of the man.
There are thousands of decisions and things we have to do. I remember every single one of them. I always want everything to feel like it was an instinctual, inherent decision, and not something that was tortured. Like is it the pink polka dots or is it the orange stripe — not that the film had [these patterns]. I didn’t want anything to appear like it was a tortured decision, but everything had to have a sort of essentialness to it and where it just felt natural.
IP: My absolute favorite look from the trailer is of Ana de Armas, the black high-slit number. It’s sexy, bold, sophisticated, and elegant, all at the same time. What was your favorite costume in the film to design? I’m pretty sure you have a few, but if you could choose one?
SAL: I should have an answer to this question and should have expected it. I was so invested in every single costume. I don’t only mean every single costume, but every single piece of the costume. I have such a visceral memory of how things came to be, whether or not we made them in the workshop — this amazing workshop of people making things.
I have so many favorites, but we did make a great pair of trousers for Bond in the final act of the film. It was a lovely process, somewhat inspired by a photograph of a vintage pair of trousers that I showed Daniel when we got the script pages and we knew we wanted to have a military knot. I have a big fashion history library and pulled up a lot of options and honed in on a few. Daniel came into my office and we looked at [the options]. He just loved them, so we decided to go down that path, but they were period.
The trousers definitely weren’t going to be very long since we want to be very Bond-esque. They take their nod from the real thing, but we’ve modified them to make them feel more Bond-like and definitely more contemporary cut and practical for the scene, which is a very heavy action scene. Parallel to that, some of the costumes worn by Lashana Lynch were made according to what the character needed to be able to do and have these clothes embody them and enhance their strengths. These costumes are particularly memorable pieces.
IP: Did you have to make multiples for the action sequences, especially for the Ana de Armas number?
SAL: The dress is actually a midnight blue. Depending on what screen you’re watching the trailer on, it might be black because it’s a black tie scene, but it’s definitely midnight blue. The lighting in the scene is pushing it more toward black. We did have a number of those dresses indeed. We knew she had some pretty heavy duty stunts where we had to make the dresses durable for that. And it’s a very, very thin delicate fabric. So there were things we had to do to the actual dress to make it survive what the film was going to put it through.
IP: How was it collaborating with director Cary Joji Fukunaga?
SAL: He was such an amazing visionary, and I already had been a fan of his films before he came to this project. It was really exciting to get to work with him. His work has a hefty visual stylistic presence, layered on to what is already a very stylish franchise. There’s a lot of pressure to meet all these ideas of high-style. He was very clear from the beginning — he gave me a few adjectives and the scope to come back with ideas, my interpretation of what those adjectives were.
When I design, I’m really interested in helping the character become fully three-dimensional, in-your-face characters. It’s not that they’re so real that the film feels like a documentary, but lifted enough to make it worthy of cinema, especially of a franchise like this. In the beginning, [Fukunaga] gave me a remit of his ideal style, which was exactly what I would do. It’s grounded in reality, but with a heightened reality — like a little push. Between that and all the character discussions with all the cast, it was a really fluid operation for me because I was starting from character and script first, and then the style.
IP: My final question is: what are you working on next?
SAL: I’m working on something in the Star Wars universe at the moment — another Holy Grail of design.
IP: Wow! I’ll have to interview you again for that project. You’re an inspiration to all of us and especially for younger generations that don’t necessarily know that costume design is a path to take. I want to thank you and congratulate you on all of your success!
SAL: Thank you for saying that. It’s really lovely to hear. Sometimes, not on purpose, you’re so deep into your projects that you’re not thinking about what it means outside of yourself. It’s a really good reminder. So I really appreciate you telling me that, thank you.
The ÅLAND x Mbrary
I love discovering new clothing brands and boutiques. More than likely, I will find something interesting and unique that excites me. Due to the pandemic, I haven’t stumbled into a new boutique especially with retail shops closing. The last time it happened was years ago in Manhattan Beach, CA where I accidentally found a simple yet elegant ivory maxi dress that would later serve as the dress I say “I do.” So when a new store pops up I appreciate it that much more because it is rare.
As such, The ÅLAND comes to mind — a retail shop hailing from South Korea, located in Williamsburg, New York (Brooklyn, if you’re not familiar with the hipster neighborhood) and now has a second location at The American Dream Mall in New Jersey. ÅLAND is a lifestyle brand carrying aspiring and emerging designers from South Korea and offering us access to South Korea’s subculture in fashion, design and trends. K-Pop idols have been digging these new designer brands which has helped influence and attract more people to K fashion.
On May 14th, ÅLAND is launching Mbrary, a brand by Minju Kim — Netflix’s Next in Fashion Winner. The name Mbrary is a combination of her namesake Minju and the word library. The collection themed and named “Eyes of the Hero” is inspired by Minju Kim’s drawings. The collection includes graphic t-shirts, caps, as well as eco bags which features Kim’s award winning designs. Minju Kim has won the 2013 H&M Design Award and was shortlisted for the LVMH prize for Young Fashion designers in 2014. In addition, has designed for K- Pop stars BTS and Red Velvet.
I had an opportunity to check out the collection ahead of its release and now will share with you all. Mbrary will be available for purchase online and at their store in The American Dream Mall.
See below for Mbrary’s full collection as well as my top 10 edit from ÅLAND!
xx
ÅLAND store at The American Dream Mall in New Jersey.
ÅLAND brick & mortar storefront in Williamsburg, New York.
Minju Kim, Mbrary designer, pictured on the left.
Mbrary ‘Eyes of Hero’ Collection
Image Credit: Âland
Roman Holiday
A royal princess escapes her responsibilities to enjoy the city of Rome. Isn’t that how we all want to feel on holiday—royal and removed from life’s responsibilities? Spring lasts a New York minute, so let’s make it fashun while on holiday! Springtime brings garden parties and galas galore, and May holds the most fashionable party of the year, the Met Gala. Guests brought their A-game to this year’s theme, “Camp,” where costumes were over-the-top and excessive. This year’s highlights included Lady Gaga’s four outfits and red carpet show of Zendaya as Cinderella, who loses her glass slipper on the steps of the Met. You’ll definitely find inspiration in their outfit choices.
As a garden party and springtime gala NYC veteran, here are my tips to being spring-ready for your invite to parties this season. Floral, stripes and paisley, loud and bold. Not into prints? Take a conservative route and stay on trend with beige, nudes or white. Go basic with a white purse and classic trench coat. You can still add flair to your conservative approach with daring accessories like bold pastel sunglasses, wicker basket purses, and statement earrings. Wherever your travels take you this season, take a cue from Anya in “Roman Holiday” and shut off to enjoy life with your spring fling!
Xx yours truly, Ivy
(On Jackie) Sunday Forever The Kit Kimono and candle. Yumi Kim Pillow Talk Floral Pajama Set. Janet Jewelry Gold Vermeil Tsuru Post Earrings. Janet Jewelry Garnet “Cherry” Necklace. Chanel Watch. JoliiCosmetics . (On Ernesto) Our Goods Grey Hoari. Gap Knit Lounge Pants. Movado Watch. Curated Goods vlnrbl Book.
Valencia & Vine Nina Dress. Missguided Nude Basic Barely There Shoes. Kaanas Lorica Lantern Bag. Urban Outfitters Rachel Raffia Statement Earrings.
Nimble Made The Waterbend Blue Dress Shirt. Zara Embroidered Text Sweatshirt. Zara Belted Chino Pants. Zara Micro Perforated Sneakers. Movado Watch. Vintage camera.
On Jackie) Urban Outfitters Vintage Oversized Menswear Striped Button-Down Shirt. Gap Mid Rise True Skinny Ankle Jeans. Converse Chuck Taylor All Star High Tops. Melissa + Baja East White Rubber Bucket Bag. Top of the World NCAA Men’s Hat Adjustable Relaxed Fit Charcoal Icon. Janet Jewelry Garnet “Cherry” Necklace. Janet Jewelry ”Old Skool” Calligraphy Initial Necklace. Janet Jewelry Horseshoe Studs. (On Ernesto) Gap Vintage Slub Jersey Long Sleeve Henley. H&M Slim Fit Cotton Chinos. Zara Micro Perforated Sneakers. Movado Watch.
Missguided Black Choker Maxi Dress. Missguided Black Asymmetric Court Shoes. Missguided Gold Look Beaten Triangle Hoop Earrings. Chanel Watch. JoliiCosmetics .
Cast & Crew Credits Models: Jackie Aitken & Ernesto | Photographer: Hans Destin | Hair & Makeup: Ashley Webb | Gaffer: Paris Holmes | Production Assistant: Gia Alexander
Get in these Pants!
When was the last time you bought a pair of pants, let alone any piece of clothing, that involved a deeper purpose besides “achieving a look”? For me, it was a pair of Toms I purchased during college. My sole investment supported a greater cause because for every pair of shoes sold, Toms gives a pair of shoes to a child in a developing country. Well now, I’d like to introduce another brand with a cause that will especially resonate with you as a woman, whether you identify as cisgender, transgender or nonbinary: Oluna. Oluna is a social impact fashion brand whose mission is: “For every pair of pants sold, we strive to bring attention to menstrual health inequity by donating a year’s supply of period products to an American in need.”
To my dismay and previous obliviousness, there is a public crisis in the United States — and globally — over social inequity related to menstruation. According to the University of Pennsylvania School of Nursing, “Students, low-income and homeless women and girls, transgender and nonbinary individuals, and those who are currently imprisoned struggle with period poverty.” For many, menstrual hygiene products are too costly. Moreover, there are 35 states that view these products as “nonessential goods” and impose a sales tax on their purchase, also known as “the tampon tax.” I believe this is an overt example of sexism, that women are subject to this tax simply for being a woman. According to the Oluna Mission page, even the United Nations “declared the inability to access menstrual hygiene products a public health, gender equality and human rights issue.” Anyone who has a period already deals with physical discomfort and inconvenience, and at the very least should have access to menstrual hygiene products, regardless of wealth.
Along with Oluna, I hope to shed some light on this public crisis happening in our own backyard. I highly recommend getting into Oluna pants simply for the cause alone of providing menstrual products to those in period poverty.
Nonetheless, these pants are comfortable and chic, too. Made of 96% polyester and 4% of either Spandex or rayon (depending on the style), they are very soft and jersey-like and very easy to maintain — simply machine wash cold and hang dry. Oluna pants can be purchased on their website in various colors and sizes. Currently, what’s available is The Payton (black), The Haley (multicolor stripe) and The Chiara (olive green).
Since it’s springtime, I chose to highlight The Chiara, in olive green, which also can be worn throughout the year. The Chiara is described as the “‘Social Butterfly’: Quick-Witted, Sophisticated and Confident.” I will share with you several ways to wear these pants, using staples in your closet. (If you don’t have these spring staples, this is an excuse to go shopping!)
Monochrome: Pair The Chiara with a padded quilted jacket or bomber in the same color family. You can break up the green with a black or beige crop top, whichever you prefer.
Striped Shirt: A blue striped button-down or a chambray shirt as a light spring jacket pairs well with the olive green pants. I threw on the Oluna Dad Cap to complete the “dad look.”
Striped Sweater: This chic nautical look, achieved with a horizontal striped sweater, will keep you warm on those beautiful-yet-deceivingly-chilly days. Tuck your hair in for even more warmth!
Something White: The windbreaker is the jacket to have in spring and looks great with The Chiara. Otherwise, any white staple on top will do the job: a white T-shirt, hooded sweater, button-down, crew neck sweater, etc.
We’re celebrating Women’s History Month in March, and I hope you’ll join me in sharing this knowledge on period poverty. We can all make a difference and help our sisters across the United States by spreading the word or purchasing a pair of Oluna pants. Remember, with your investment, you’re helping to give a year’s supply of period products to someone in need. Please get in these pants!
Ready, Set, Virtual Date!
Social distancing, curfews and lockdowns have made dating even more challenging (as if it wasn’t hard enough already, especially in dense cities like New York where women outnumber men). In the not-so-distant past, apps like OKCupid and Tinder got us out on the town for in-person relationships or one-night stands, whichever fit your fancy. Now, virtual dates via Zoom or FaceTime are the new norm. I’m not here to help with dating (having been out of the game for many moons), but I can give you expert wardrobe advice and help you choose a backdrop to complement your outfit!
Preparing for a great date, virtual or not, starts with looking and feeling your best, and that all starts with choosing a fabulous outfit. And with virtual dating, the second most important thing besides your outfit is your background. Whether you’re getting ready for a first date or you’re trying to keep your look fresh for date number two or three, read on for an overview of what makes a successful virtual date look, how to choose the outfit, and — last, but not least — outfit recommendations for every mood.
Perfecting your look for a virtual date
The backdrop of your virtual date is nearly as important as your outfit, yet that often seems to be the final thought when people are prepping for an exciting “night out” via video call. When choosing a background, first, figure out what complements your outfit. Also consider if anything in the background can be a conversation starter. For example, contrast a simple, white, over-the-shoulder top (a silhouette that highlights your neck and shoulders) against a bold, colorful Sue Tsai statement piece (like “Still Bloomed”) hanging behind you. Or pair a statement piece, like a bright pink ruffled top, against a blank white wall and a fiddle-leaf fig tree. Whatever you choose, make sure it’s not a virtual wallpaper. Those tend to be off-putting and disorienting, as they make you appear out of place and often come off looking cheap.
Sue Tsai’s “Still Bloomed” canvas print
It’s important to look fabulous, but you also want to wear something that fits. In other words, make sure your outfit is familiar and comfortable. Don’t wait until right before your Zoom date to put it on, only to realize you can’t sit down comfortably. I also highly recommend a dress rehearsal to make sure your camera is placed at a flattering angle, that there are no surprises in the background, and that your lighting is on point. (I have heard that using a ring light makes all the difference in looking good on camera, if you feel like investing in one. If you don’t, a well-angled desk lamp can do the trick.)
Choosing the outfit
Because physical cues aren’t as apparent on a virtual date as they are in person, it’s particularly important that you choose an outfit that best represents your personality. Ask yourself: What impression or message do I want to send my date? Do you want to give off a “comfy and cozy” vibe or come across as “bold and irresistible”? (Need some ideas? Check out the list of themes and corresponding outfit recommendations below.)
Once you’ve figured out the look you’re going for, think of your outfit from head to toe — not just from waist up, in case you have to stand up for something! Plus, it doesn’t hurt to (subtly) showcase any assets you have, for example, by picking a pair of jeans that highlights your glutes.
Now that you have an idea of the look or silhouette you want, choose colors that complement your skin tone. Also consider what looks best on screen. Some colors can appear harsh on camera, as can some patterns, as well. Even wearing a subtle zigzag pattern creates a moiré effect — a repetitive pattern that appears to strobe and dance — on the screen. Again, do a test run ahead of time with your outfit, your setup and your camera to make sure your look is coming across as intended.
To sum it up, go through this checklist:
Silhouette: What impression/message do you want to send to your date?
Color: Choose a color that best suits your skin tone.
Pattern: Stick to little or no pattern, and definitely avoid bold patterns.
Asset(s): Choose an asset that you’d like to accentuate. For example, to show off your arms, wear a sleeveless or bandeau top; to highlight your collarbone, accessorize with a dainty necklace; to accentuate your shoulders, try a bustier or off-the-shoulder top.
Outfit recommendations
Comfy and cozy
Don’t be deceived — the comfortable look can be just as chic as the other themes. Plus, this choice will make you feel more at ease.
(Left to right: Sweater dress / Silk set / Cable knit sweater with leather joggers)
Sexy and subtle
If you don’t want to come off too strong on the first date, showing a little shoulder or your collarbone — oh so subtly— is the way to go.
(Left to right: Sheer Yoke Cardigan with pencil skirt / Asymmetrical top with bralette and jeans / Off-the-shoulder top with leather pants)
Elegant and sophisticated
You can’t go wrong with this look. You’re guaranteed to make your date want to bring their A game and call you back for a second date — that is, if you want another date!
(Left to right: Slip dress / Halter top with black denim / Little black dress)
Bold and irresistible
You know what you want and have no qualms about being who you are: confident and beautiful, inside and out.
(Left to right: Sweater dress / Bustier top with black denim / Red dress)
Flirty and fun
The only print that gets a pass on a virtual date is floral. Wear light and bright colors or ruffles to bring that fun, flirtatious energy on screen.
(Left to right: Floral dress / Eyelet dress / Ruffle top with denim jeans)
Don’t feel like you need to limit yourself to just one look or theme. On the first date, you can decide to be “elegant and sophisticated,” but if you feel more comfortable on the second date, go with “flirty and fun”! The most important thing is to choose a color and silhouette that fits your style and shows you at your best. For example, if you want to show off your amazing arms while staying “comfy and cozy,” a short-sleeve sweater dress will do the trick.
Now that you have the perfect outfit, a background that complements your entire look and lighting to perfection, the rest is up to you. Get out there (while staying in) on that virtual date and let your personality shine through!
Cover image credit: Shutterstock
Esther Moon x Minari
Getting to Know Esther Moon
Predicted by Variety magazine to be one of the top three contenders for best picture at the Academy Awards, Lee Isaac Chung’s “Minari” is about an immigrant Korean family starting anew in Arkansas in the ‘80s. The film has already been nominated for quite a few awards including the Golden Globes for best foreign language film, Screen Actors Guild for outstanding performance by a cast in a motion picture, and Critics’ Choice Awards for best acting ensemble. For an in-depth look at the film, read Mochi magazine’s review here.
We also had the opportunity to chat with the lovely and inspiring Esther Moon, who plays Mrs. Oh — the woman who works alongside protagonists Monica (Han Ye-ri) and David (Steven Yuen) in a chicken hatchery. Moon not only shared about her journey to “Minari,” but also her acting career in general and the exciting projects she has brewing in the future. Get to know Esther Moon a bit before award season ends by watching the video below.
“Bling Empire”: The Real Crazy Rich Asians
The pandemic persists into the new year, so let’s dabble in all the new content available on Netflix, guilt-free. The streaming network giant recently announced a slate of new films for 2021 and it’s an attractive lineup. Not to mention, new reality series like “Bling Empire”! It’s been years since I last watched reality TV, but I was pretty intrigued by the concept of a real “Crazy Rich Asians” in Beverly Hills.
Correct me if I’m wrong, but most of us have either seen or heard of the rom-com film, “Crazy Rich Asians,” or read the novel with the same title by Kevin Kwan. It’s a breath of fresh air to see an all-Asian cast on the big screen. Luckily for us, we can see more of this setup with “Bling Empire.”
“Bling Empire” has all the makings of a successful reality show: drama, interesting over-the-top characters, and, of course, eye candy — bling, designer clothing and stunning homes. I don’t want to give too much away, but after sitting through the first season (hopeful for more in the future), I felt like I have made new friends. Here’s the scoop on my new set of friends and what I love about them:
Kane Lim // @kanelk_k
A billionaire’s son hailing from Indonesia, whose family owns many of the luxurious malls in Southeast Asia, like Singapore and Thailand. Kane is down-to-earth, a genuine friend who will hop on a plane with no hesitation (Episode 7). I agree with his sentiments: “Just go shopping. It’s the best therapy.” And I appreciate his wall of designer shoes which are displayed like art in a museum.
Kevin Kreider // @kevinkreider
A model who is Korean-born but Philly-raised, and adopted at a young age by white American parents. Kevin has a good sense of humor with a side of gullibility. More importantly, he’s another friend to have at your corner who will fly out at the drop of a dime to support a friend (Episode 7). And the endearing relationship he has with his adopted mom is heartwarming.
Christine Chiu // @christine_chiu88
The “Queen of Beverly Hills and Haute Couture,” as described in the first episode, is Taiwanese-born and raised in Beverly Hills. Her husband, Dr. Chiu, is a renowned plastic surgeon and direct descendant of the Song Dynasty (24th generation to be exact). From the get-go, you see she’s the hostess with the mostest — she goes above and beyond with her extravagant parties in what she wears and gifts her guests. Above all, she has a heart of gold where she keeps her husband first, taking the blame in a family secret (Episode 5).
Anna Shay // @annashay93
Who wouldn’t want to be friends with Anna? She values her friendships and knows how to live life. My kind of girlfriend, who’s not too good to ride a scooter around Rodeo Drive, and her idea of surprising a friend for her birthday is a trip to Paris to have lunch at her favorite restaurant (Episode 1). Anna is Japanese Russian American, and her wealth is from her father, Edward Shay, a defense/government service contractor who sold weapons and defense technology.
Kim Lee // @kimlee
A well-known international DJ and former model whose parents are from Vietnam. She’s someone who definitely knows how to party and have a good time. How can you not want to be friends with someone who appreciates and loves music?
Kelly Mi Li // @kellymili
A woman who loves hard and works hard in her relationship — maybe works a little too hard. Like Kelly says, “Relationships are complicated and confused half the time.” Hilarious but true! She is a Chinese-born serial entrepreneur and film producer. A woman about her business is a great friend to have around to inspire you to be better.
Cherie Chan // @cherieofficial
I respect a bold woman who defies tradition and is a mama at the same time. I won’t give any more details as you’ll see when you give this show a go. Once signed to Sony Music, Cherie almost hit it big as a popstar in Japan. Her family’s wealth is from an undisclosed denim company.
Jaime Xie // @jaimexie
The fashionista of the bunch whose only drama in the series is choosing between two different Bottega Veneta purses, as you’ll see when she and her friends visit a shaman (Episode 5). Raised in Silicon Valley, her family’s wealth comes from the tech industry (specifically cybersecurity helping implement firewalls). For those who appreciate fashion and impeccable style like myself, Jamie is the one you should be eyeing throughout the show! Check out the time we chatted with Jaime a couple years back.
You’ve now been acquainted with my new set of friends in Beverly Hills! However, there is no better way to get to know them than by watching “Bling Empire” yourself. From the extravagant themed parties to casual get-togethers that involve a sex toy falling out of a window, and exclusive private shopping sprees in Paris, there is enough to keep you entertained to escape the current state of the world.
Cover photo credit: Netflix
Love, ‘Always & Forever’
A year has passed since we sat down with Jenny Han and the main cast of “To All The Boys: P.S. I Still Love You.” Oh, how life was so different then — when we were able to attend the early screening in person at The Whitby Hotel in NYC, maskless and free of social restrictions. Now, here we are, weeks ahead of the release of the last film of the trilogy, “Always & Forever,” chatting virtually via Zoom. Although there were technical difficulties — from Siri interrupting me and asking how she can help whilst I was talking to Noah, to Airpods magically cutting off in the middle of Lana speaking beautifully — we all had a ball in the comfort of our homes!
For those who didn’t read the trilogy, “Always & Forever” is the last installment of the series, and the film with the same title gives you the same warm, nostalgic feelings as the previous two films did. In the first movie, “To All The Boys I Loved Before,” we follow the blossoming love story between high school jock Peter Kavinksky (Noah Centineo) and the less popular girl Lara Jean Covey (Lana Condor). In the sequel, “P.S. I Still Love You,” Lara Jean has to choose between two loves, Peter and John. In the third and final installment, “Always & Forever,” we see Lara Jean having to choose what’s most important: herself. What I love most about this film is how we get to live vicariously through a pandemic-free world. I’ll refrain from sharing any other details because you’ll want to see for yourself!
Although this trilogy is over, we can always and forever rewatch to experience the nostalgia all over again. Watch our interviews with Jenny Han and the main cast of “Always & Forever.” and you may catch yourself playing Would You Rather as well: Would you rather go to NYU or Stanford? Single and ready to mingle, or off-the-market in college with your childhood love? Mark your diaries for Friday, Feb. 12 to see how the last hurrah all goes down on Netflix!
Note: Videos may contain spoilers.
Interview with Jenny Han
Interview with Lana Condor
Interview with Noah Centineo
Interview with Ross Butler & Madeleine Arthur
Interview with Janel Parrish & Anna Cathcart
oqLiq’s Natural Blessing Spring/Summer 2021
Continuing last month’s theme of Streetwear September, Mochi magazine virtually attended oqLiq’s Spring/Summer 2021 fashion show at the tail end of New York Fashion Week (NYFW). oqLiq is a Taiwanese urban streetwear brand started by Chi Hung and Orbit Lin. Traditionally a menswear brand, Hung and Lin took it up a notch this season with a unisex collection, which follows the fashion industry’s trend of gender neutrality.
oqLiq debuted at NYFW earlier this year and returned this season with a theme of “Natural Blessing.” The designers’ new pieces draw from a color palette inspired by nature, with black, deep moss green and blue hues. With that theme in mind, the pieces were designed to withstand various elements, from a cool breeze to a rain shower. In addition, oqLiq embraced sneaker culture, collaborating with New Balance as the sneaker of choice to complement the polished outfits.
Following the digital show, we chatted with Chi Hung about the inspiration behind the collection, what’s inspiring her lately, and what kept her sane during NYFW.
IP: What is the inspiration behind your Spring/Summer 2021 collection?
CH: The inspiration of the collection comes from a prayer for favorable weather, “nature’s blessing.” In the [16th century Chinese] novel “Investiture of the Gods,” there are four heavenly kings, known as Jian (sword), Chin (instruments), San (umbrella) and Lung (dragon), which represent the idea of nature’s blessing. The imagination of these four heavenly kings can be seen throughout the fashion show, delivering the message of nature’s blessing. […] The four words are used in the design of oqLiq in the concept of functional clothing: wind (windproof), tune (functional clothing, in tune with the body), rain (rainproof), smooth (comfortable).
Chi Hung’s favorite look from oqLiq’s Spring/Summer 2021 collection
IP: oqLiq made its American debut just this past February during NYFW. How would you describe your experience with this fashion show compared to last year’s?
CH: Both experiences were incredible in their own way. At a live fashion show like last season, you are able to feed off of the energy of all the guests in the audience. But with the virtual [show] this season, we were able to be a lot more creative with the set and the “show.”
IP: oqLiq made its American debut just this past February during NYFW. How would you describe your experience with this fashion show compared to last year’s?
CH: Both experiences were incredible in their own way. At a live fashion show like last season, you are able to feed off of the energy of all the guests in the audience. But with the virtual [show] this season, we were able to be a lot more creative with the set and the “show.”
IP: What is the meaning of oqLiq?
CH: It is the reverse image of an old word “bilbo” (earlier English form of the name Bilbao) noted for the manufacture of fine blades. Bilbao means a sword used in former times, noted for the temper and elasticity of its blade. We found this word in the dictionary. We liked exercise and resilience, but later found that it had the same name as a movie character, so we reversed the word. We hope “oqLiq” represents a kind of strength and flexibility.
IP: How would you describe the aesthetic of oqLiq?
CH: It’s a combination of traditional oriental culture and urban outdoor style that provides high-end functionality.
IP: What is inspiring you lately?
CH: The latest technology and the old traditional culture.
IP: What is one piece of advice you would tell your young designer self?
CH: I would tell my younger self to never give up, and that failure is the best teacher you will ever meet.
IP: Can you describe the person you design for? For example, a man or woman/person who appreciates functionality and the outdoors, etc.
CH: People who use clothes to express their views of the world. Fashion can be a political statement; we design for the person who stands in their purpose.
IP: What are some of the things that keep you sane while prepping for NYFW?
CH: We are so fortunate to have the best team in the world. They are the ones who keep us sane through all the crazy that is NYFW.
IP: Why do you think it’s so important to show your collection during NYFW?
CH: We met our first buyer in New York, so New York will always have a special place in our hearts.
Follow oqLiq on instagram @oqLiq and shop the collection at www.oqLiq.waca.ec.
Photo credit: OqLiq
Streetwear September
At the start of a new season, whether marked by cooler temperatures or a new school year, many people look to the September issue of their favorite publication(s) — typically the biggest of the year. Readers pore over fall/winter trends and how outfits and photo shoots are styled. Usually what graces the issue’s spreads and advertisements are pieces from big fashion houses Chanel, Gucci, Louis Vuitton, Celine and Calvin Klein, to name a few.
As someone who creates content and styles spreads for magazines, I’m less inspired by these September issues because I’m too close to the process. Instead, my inspiration comes from unexpected places, circumstances and people. Lyrics from a song paint a picture in my head or the colors from a neglected garden stand out to me. Then there’s the picture of Oscar-nominated actor Timothée Chalamet wearing a cobalt blue baseball cap with the letters “Mmlg,” that popped up in my social media feed. I had never heard of the label, so I went down a rabbit hole to learn more and found that it’s from a Korean brand called 87MM.
This discovery inspired me to do something different for Mochi’s fashion feature this fall. Instead of showcasing designers who often get exposure in September issues, I’m highlighting emerging and seasoned Asian streetwear designers.
Here are some of the designers who have caught my eye, along with the inspirations behind their brands and my favorite pieces from their recent collections. Join me for “Streetwear September” and give these designers some love this month.
1. Sundae School // @sundae.school
Designers: Dae Lim and Mia Park are both from Seoul, South Korea, and have been best friends since elementary school. They share the common experience of having immigrated to the United States at the age of 13.
Inspiration: Lim and Park find inspiration for this cannabis/”smokewear” label from their personal and “dichotomous experiences as first-generation immigrants from South Korea (where cannabis is demonized), who received their education in the U.S. (where it is on the brink of legalization).”
Favorite pieces from the current collection:
2. Mmlg // @official_mmlg
Designers: Kim Won Joong and Park Jiwoon are fashion models from Korea who were both born in 1987.
Inspiration: They’re inspired by urban simplicity, their birth year, and their experiences as male models, hence the brand name “87MM.” (Mmlg is a unisex label under the 87MM brand.)
Favorite pieces from the current collection:
3. Soph. Co. LTD // @soph_co_ltd
Designer: Soph. Co. LTD was founded in 1998 by Japanese designer Hirofumi Kiyonaga.
Inspiration: Kiyonaga is inspired by minimalism and functional casual clothes for everyday use.
Favorite pieces from the current collection:
4. Brain Dead // @braindead
Designers: Brain Dead was founded by Kyle Ng and Ed Davis. Although Ng is from Los Angeles and Davis is from Melbourne, they connected online and realized they shared the same interests of creating and exploring. This became the foundation of their brand, which has been described as “a means of expression for a collective of creatives and designers from around the world.”
Inspiration: They find their inspiration from subcultures, such as underground comic books, skateboarding and post-punk.
Favorite pieces from the current collection:
5. Tsumori Chisato // @tsumori_chisato
Designer: Tsumori Chisato is from Saitama, Japan. She attended Tokyo’s Bunka Fashion College and started her career working under Japanese fashion designer Issey Miyake.
Inspiration: Chisato finds her design inspiration from her life in Japan, color, prints and manga. Her prints range from paintings and watercolor to pencil drawings and digital renderings.
Favorite pieces from the current collection:
6. Ground Zero // @ground_zero_clothing
Designers: Hong Kong-based designers and brothers Eri and Philip Chu started designing their own clothing by remaking vintage clothing. Eri studied graphic design and Philip studied Fashion Design Management at Middlesex University in London.
Inspiration: The brothers are inspired by the idea that everything starts from nothing — ground zero — and also gain inspiration from pop culture, particularly pop music.
Favorite pieces from the current collection:
7. Hyein Seo // @hyeinantwerp
Designer: Hyein Seo is from South Korea and graduated from Antwerp’s prestigious Royal Academy of Fine Arts.
Inspiration: Seo draws inspiration from an imagined dystopia, a landscape informed by a lifetime of dusty arcades and prodigious amounts of anime.
Favorite pieces from the current collection:
8. Ellioti // @ellioti_official
Designers: Ellioti was founded by Korean street style photographer Ted Like, who shot street style in Seoul for 16 years.
Inspiration: This casual, unisex brand draws its inspiration from street moods.
Favorite pieces from the current collection:
China Fashion Gala 2020
The China Fashion Gala — another event gone virtual in 2020 due to the global pandemic — was originally scheduled for the evening of April 29, then pushed back to July 23. In the state of New York, gatherings of more than 10 people are prohibited, so big events have either been canceled or gone virtual. If you recall, the Metropolitan Museum of Art Gala — “fashion’s biggest night out,” held in the city every first Monday in May — was canceled indefinitely due to COVID-19. This event is for celebrities/A-listers with jaw-dropping looks on the red carpet and a themed exhibit at The Met itself. It’s no wonder The Costume Institute didn’t go the virtual route, which would not have done the event justice.
However, for the China Fashion Gala, the show must go on! Although it wasn’t as entertaining to see other guests dressed to the nines (or not) via Zoom instead of in person, the event was beautifully done and enjoyed in the comfort of our homes. Before we go into the highlights of the evening, here’s some background about the China Fashion Gala and its purpose.
In its fifth year hosted by the China Institute and China Beauty Charity Fund (CBCF), the China Fashion Gala is an annual celebration of Chinese design. The event is a platform for China’s emerging talent in the international arena, as well as a forum for recognizing individuals whose contributions have helped position China at the forefront of global fashion and beauty.
The China Institute has been around since 1926 to help foster a deeper understanding and appreciation of China through programs in art, culture, education and business.
CBCF was founded in 2011 by the Shanghai Soong Ching Ling Foundation, one of the most important and trusted charitable foundations in China, to honor Yue-Sai Kan. Once named the most famous woman in China by People Magazine, Yue-Sai Kan is a television host, producer, fashion icon, best-selling author, and humanitarian. Some of the areas the CBCF supports are: TV/film production, charitable projects for women and children (e.g., the Shanghai Soong Qing Ling Foundation's Safety for Mother and Child Program), as well as charitable activities of Miss Universe China.
The theme of this year’s gala was “One World in Beauty,” with a purpose to “connect the people of China and people of the U.S. in a human way.” I can only speak for myself, but this mission was accomplished in my mind, as I walked away from the event with a greater appreciation for China’s culture and influence. In addition to connecting two cultures, an online silent auction held via 32auctions.com raised $600,000 between July 23-30.
Event Highlights
The evening began with a VIP/press reception via Zoom, with guests divided into multiple VIP cocktail rooms to chat with fellow guests. Along with several others, I was in the same room with fashion designer Jason Wu and one of the honorees of the night, Wendy Yu. At the end, we all toasted to a wonderful evening!
The actual gala, which took place after the VIP/press reception, was formatted like a webinar, where guests were unable to see one another. Compliments to the Quincy Jones Production for such a beautiful musical opening. The gala kicked off with Kenny G performing one of the most famous Chinese folk songs, “Mo Li Hua,” or translated in English, Jasmine Flower, followed by a special dance of the Thousand Hand Bodhisattva performed by the China Disabled People’s Performing Art Troupes. I was blown away by the precision of the performers, who are all deaf and learned the choreography through sign language.
Following these performances was a montage of the honorees receiving their awards and special guests congratulating them with kind words. Special guests included Christian Louboutin, Guo Pei, Grace Chen, Bette Midler, and Karolína Kurková, to name a few.
Honorees
Here are the honorees of this year’s gala: Estée Lauder, Wendy Yu, Phillip Lim and Lucy Liu, pictured below receiving their award.
Estée Lauder: Stéphane de La Faverie, Group President of Estée Lauder Companies, accepted the Beauty Award on behalf of the company. Estée Lauder has been present in China since the early ‘90s, particularly investing in research and development to develop products for China.
Wendy Yu: The recipient of the Millennial Leadership Award was presented by her friend Jason Wu. Well-loved by many, Yu received congratulations from British Academy of Film and Television Arts, designers and artists. Not only is she an entrepreneur, but also a millennial investor, philanthropist and Curator in Charge at The Met’s Costume Institute.
Phillip Lim: The recipient of the Leadership Award was presented by Lisa Ling.
As a successful fashion designer with his 14-year-old luxury brand of which is his namesake, Phillip Lim loves to design, but wants to do it with more consciousness — “to live life in balance,” he said.
Lucy Liu: The recipient of the Icon Award was presented by Yue-Sai Kan. As an actress and director, Liu broke racial barriers in Hollywood for the Asian community. Her advice? “Long journey, ask a lot of questions. Go with what you feel.”
The last event of the evening was a fashion show by Chinese couture designer Xiong Ying, showcasing her designs under the label Heaven Gaia. Ying found her inspiration for these designs from Buddhist caves in Dunhuang. The collection was refreshing, beautiful and ethereal.
I hope you enjoyed this coverage of the China Fashion Gala, virtually, as I did.
Maybe next year we can truly enjoy the new Roaring ‘20s where we dress to the nines and attend galas and events in person.
Summer In The City
Summer is finally here, and after sheltering in place for over two months, anyone who says “staying at home” has been a breeze would be lying. Some days have been easier while others have been a struggle. But what you wear can make all the difference in how your day pans out. Throw on a pair of joggers — you are relaxed, comfortable and maybe less productive. However, throw on a black blazer — you look more put together and ready for Zoom.
But it’s not just about how you look. Our outfits can affect how we feel. “Your choice of attire has powerful feedback effects; it sends internal messages which can boost or dampen your mood and even alter your thought processes and capabilities,” writes psychologist Karen Pine in her book “Mind What You Wear: The Psychology of Fashion.” As our country continues to grapple with the unknowns of COVID-19 and the tumultuous social and political climate, we need all the help we can get to boost our moods and give us hope for the future.
Since many of us may still be cautious about venturing out, let us revisit the classics in our closet for all the Facetime calls and virtual happy hours. I absolutely love the classics, like a white T-shirt or a maxi dress, which can be worn time and time again. But don’t fret if a few of these staples are nowhere to be found in your closet; I’ve included links to some of my favorites. I hope you feel inspired to get dressed up to take on whatever life throws at you!
xx Ivy
White T-Shirt & Cargo Pants
Haven’t changed out of your sweats in a few days? Reach for versatile cargo pants paired with a classic white T-shirt instead. The pants also can be easily dressed up with a black silk cami, black blazer and strappy heels.
White T - Shirt
Cargo Pants
Accessories
Accessorize is the name of the game to spice things up when you go with classics. Try adding a bucket hat and statement necklace, or a colorful scarf, headband and fun earrings. The timepiece is just as important, even if you don’t have anywhere to be except your kitchen table turned office desk.
Fashion Editor: Ivy Payne
Photographer: Phillip Troy
Wardrobe Stylist: Blake Ivy
The Cool Kids at NYFW
As I type this piece, Paris is finishing off fashion week, an industry-wide global event where fashion designers and brands showcase their latest spring/summer 2020 collections. Currently, autumn is underway in New York City, but because fashion week is always a season ahead, the runways are already highlighting spring and summer wear. In the same vein, the fashion industry will be unveiling its fall and winter 2020 collections when February rolls around.
In September, New York Fashion Week (NYFW) took over the city, with photographers snapping pics of social media mavens and celebrities outside of fashion shows. I miss the days when shows were exclusive to fashion editors and buyers, when the focus was less on who’s who and more on what was coming down the runway. Times have changed, but all I can do is play the game or sit on the sidelines. And I definitely am not one to sit on the sidelines for anything; I would rather win the game!
China has the same sentiments and came to play during fashion week. I was cordially invited to see “Tmall: China Cool,” an experience where emerging designers from China showcased their spring/summer collection of 2020. To be honest, I had to Google “Tmall” before the shows because I had never heard of it before. As someone who has worked with international mall developer Westfield, I was intrigued by what Tmall had to offer to consumers.
Tmall describes itself as a “digital mall with virtual storefronts” and is a business-to-consumer platform owned by retail commerce company Alibaba. It currently has over 670 million consumers and stocks over 190,000 brands. The company also launched the Tmall Luxury Pavilion, offering more than 140 brands of luxury/premium goods, from Rimowa to Maserati. And Net-a-Porter just opened a flagship on the pavilion and will offer 130 luxury designer brands (Balmain, Isabel Marant, and Tom Ford, to name a few). Sounds like a shopper’s dream!
Tmall is not only a gateway to China for western brands because of its success in engaging Chinese consumers, but also is known to be an incubator of rising design talent in China — similar to what Milk Studios was to rising talent in NYC via MADE Fashion Week.
This past September was Tmall’s third season with NYFW, bringing top talent to the big city of dreams. Five fashion brands showcased their spring/summer 2020 collection on September 4, 2019, at Spring Studios in New York City: PEACEBIRD, THREEGUN, SONGTA, i-am-chen, and RiZhuo.
I predict China will soon make its mark in fashion overseas, and westerners like me will shop on Tmall to find pieces that can’t be easily found in the city. We would just need some help reading Chinese characters. I’ll give my son several years of learning Mandarin in school before he can help us navigate and shop for our heart’s desires on Tmall. For now, let’s get acquainted with some talented, but possibly unfamiliar, designers and share some fun footage of the shows.
PEACEBIRD // China’s leading multi-brand retail and fashion label
collection theme/inspiration: “No Boundary,” paying tribute to the Chinese Women’s Volleyball team
my fave look: black blazer with a fanny pack to cinch the waist, paired with bright knee-high socks
PEACEBIRD
THREEGUN // Intimate apparel dating back to the 1930s, known for its high-quality lounge/sleepwear
collection theme/inspiration: The spring/summer 2020 collection is designed by Chuang Qu. It was inspired by a Chinese character that means “to tailor” and different architectural techniques used to create a sense of space.
my fave look: layered intimates, reminiscent of the ’80s leotard getup
THREEGUN
THREEGUN
SONGTA // designer, Song Ta is a conceptual artist and art curator turned fashion designer. His work is heavily influenced by conceptual art and his muse so to speak is Generation Z
collection theme/inspiration: Southern Chinese city of Shenzhen and middle school uniforms in China
my fave look: football shoulder pad-inspired top with red shorts
i-am-chen // Founded by Chen Zi, a semi-finalist for the 2018/2019 International Woolmark Prize Hong Kong and who studied at the London College of Fashion and Parsons
collection/inspiration: Inspired by photographer Kourtney Roy, Chen Zi uses a palette of intrusive colors to break up the daily boredom of life.
my fave look: chic over-the-shoulder yellow-trimmed black number, paired with a yellow hat
RiZhuo // Designer Lujian Zhang’s collection of contemporary women’s wear portrays the brand’s peaceful attitude toward life through simple and meticulous craftsmanship and loose structured shapes.
collection/inspiration: A poem about Beigu Mountain by Tang Dynasty poet Wang Wan captures the melancholy sentiment that many Chinese people feel when they return home during Chinese New Year.
my fave look: wide belt over a long coat
The New Normal - Face Mask
The New Normal - Face Mask
Since the spread of COVID-19, face masks have become the new normal in the United States. While many Americans balked at the discomfort and inconvenience at first, residents in other countries have long been accustomed to face masks. For example, face mask culture became prevalent in Japan after the 1918 Spanish Flu, and Japanese people still wear them today for a variety of reasons. In the Philippines, I wore a face mask to protect myself from air pollution in my motherland. And high school students in South Korea even wear masks on their chins as a fashion statement. (See more about face mask culture.)
These days, wearing a face mask is more than just a fashion choice; it’s a safety precaution. The Centers for Disease Control and Prevention (CDC) recommends “wearing cloth face coverings in public settings where other social distancing measures are difficult to maintain, such as grocery stores, pharmacies, and gas stations.” The purpose of wearing a face mask is simple: Slow the spread of COVID-19 and help people who may not know they have it from spreading to others. You’re protecting not only yourself but everyone around you!
Still, a properly-fitted mask covers more than half of your face — the very features that allow you to fully express yourself. So why not take this opportunity and make your mask a true reflection of you? With an overwhelming array of options to choose from, we’re offering a look at 10 masks with shopping tips to help you find the one for you — whether you have sensitive skin or simply want something that allows you to express yourself.
Types of Face Masks
Medical (N-95): These masks should be left for those on the frontlines — healthcare workers, police, EMTs, and other protective service workers.
Non-medical: These masks are for the general public.
Disposable or surgical: This is the ubiquitous blue face mask you see around that is perfect for one-time use.
Reusable: This single- or multi-layer fabric mask may or may not include a filter. Multi-layer masks offer extra protection. According to research from Missouri M&T, several layers of a HEPA filter will block 80-90% of particles.
Shopping TipsWhen shopping for masks online, keep the following tips in mind.
Be aware of the return policy. Most retailers/sellers have a “Final Sale Only” policy on masks for obvious hygiene reasons.
Delivery time could be two-to-three weeks out, so bear in mind you’ll need something to hold you over in the meantime. Disposables may work for the time being.
One size does not fit all. The better a mask fits, the better protected you’ll be. Consider purchasing from a seller that offers different sizes or measurements.
Buy a three- or five-pack of reusable masks so you’ll have a week’s worth. Then you can wear, wash and repeat.
Start out with a base set in classic neutral colors (black, white, navy blue, brown/beige) if you’re concerned with matching and pairing masks well with your outfits.
Face Mask Edit
non - filter yet fashionable silk face mask Eugenia Kim
Sleep with a silk pillow or love the touch of silk on your skin then this will lay nicely on your face.
surprise print Reformation
If you like surprises and are indifferent to prints/solids.
filter face mask Lele Sadoughi
It’s all in the details. Pearls, stars, and a filter!
work out queens Outdoor Voices
For those who out work, the work out queens wear these wick away masks.
fun print with nose clip Tanya Taylor
Any kind of security always feels better especially this nose clip face mask.
odor resistant Luminora
Do you smell every little thing then I sense this is best suited for you.
sensitive skin Jeune Otte
If you have extra sensitive skin this is lined with 100% cotton.
seersucker summer ready Rowing Blazers
Be summer ready with this seersucker fabric mask.
statement & multi-layer Aphea Fashion
Make a statement with extra protection too.
versatile Rag & Bone
This mask will pair well with everything. Dress it up or down!
General Considerations from CDC
Whether you go patterned or neutral, sleek modern or textured rustic, be sure to follow these guidelines from the CDC when wearing a face mask:
Your mouth and nose should be fully covered.
The mask should fit snugly against the sides of your face without any gaps.
You should not have any difficulty breathing.
The mask should be tied or otherwise secured to prevent slipping.
You can visit the CDC for more details.
It’s important these days to wear a proper face mask and spread the word — not COVID-19 — and I hope you find at least one that makes the experience a little more enjoyable.. We might as well look cute while doing our part to stop the spread!
Be well & safe XX
Ivy
Face Mask Edit
non - filter fashion face mask
a surprise print
filter face mask
work out queens
printed nose clip
odor resistant
sensitive skin
summer ready
statement & multi-layer mask
versatile
non - filter yet fashionable silk face mask Eugenia Kim
Sleep with a silk pillow or love the touch of silk on your skin then this will lay nicely on your face.
surprise print Reformation
If you like surprises and are indifferent to prints/solids.
filter face mask Lele Sadoughi
It’s all in the details. Pearls, stars, and a filter!
work out queens Outdoor Voices
For those who out work, the work out queens wear these wick away masks.
fun print with nose clip Tanya Taylor
Any kind of security always feels better especially this nose clip face mask.
odor resistant Luminora
Do you smell every little thing then I sense this is best suited for you.
sensitive skin Jeune Otte
If you have extra sensitive skin this is lined with 100% cotton.
seersucker summer ready Rowing Blazers
Be summer ready with this seersucker fabric mask.
statement & multi-layer Aphea Fashion
Make a statement with extra protection too.
versatile Rag & Bone
This mask will pair well with everything. Dress it up or down!