Blog Posts

THE CINDERELLA EFFECT WITH CELESTE VICTORIA

3/13/2025

CELESTE VICTORIA

Stacy Fan with designer, Celeste. Stacy wearing a Celeste Victoria piece.

When I meet Celeste at Flying Solo, she has an undeniably beautiful energy about her. Wearing a stunning black top (her own design) her collection is a true reflection of herself. Glamourous and striking yet approachable. As we make our way upstairs to see her collection, Celeste tells me, “Celeste Victoria came about, especially the name of the brand (because it was) me incorporating myself and my grandmother, as she is the one who taught me to sew as a young girl. So when I was coming up with the name of the brand, I wanted to pay tribute to that and create a name that was worthy of my clothing and her legacy. So Celeste is my name and Victoria is her name."

Celeste’s story and road to becoming a designer, unbeknownst to her at the time, began when she was just two years old.

“I was born in Jamaica, in St. Elizabeth. I was two years old when I moved to stay with my grandmother. I lived with her for the early part of my life, between two and ten. within those periods it was really.. it was hard. But I didn’t understand, actually I didn’t know it was hard, but I learnt now that it had an effect. She already had grown kids, and you know, here I am, this brand-new little baby and my dad had to leave me with her so he could do what he needed to do for the family."

However by Celeste spending her early years with her grandmother, a seamstress, ultimately ended up being one of the reasons Celeste became a designer. "She was a seamstress, has always been and I remember every weekend, when we would go to the market, she would make bedding, I mean everything. My clothes she made from scratch. Everything I wore from age two and ten was from my grandmother. I mean, I didn’t even know they made clothes… “ Celeste stops and places her hand on my arm, leaning in and with a surprised smiling face, exclaims, “I didn’t even know there was actual real clothes!” I laugh along, “Wait there's a shop?” Celeste laughs. “Like no… and a designer? What is that?”

“She taught me the basics of sewing when she was doing it, how to thread the needle. And it was an old school sewing machine, you know the ones with the peddle? I had to sit on her lap and she would do the peddle and she would show me how to thread the needle and stuff.”

After seeing her grandmother the last time in 2021, after the pandemic, Celeste says, “I started just going hard at the fashion, designing. And 2022, life has changed, you have to become more serious. Before I was always in fashion, I sold in the vintage market, in the flea market in NY, that was my fashion. But this part, I kept it under wraps for a long time, because I’m self-taught. So I wanted to take my time and really develop what it is I want to say to the world before I put it out there. And I was very comfortable with my day job and I didn’t want to complicate my life because I loved my freedom."

Having been a flight attended, Celeste certainly had freedom, a view of the world that has undoubtedly given her an even greater perspective as a designer. But giving up that freedom was a hard challenge for her. “You don’t have a lot of freedom when you decide to step outside of being just an employee and becoming your own boss. And as a small start-up in fashion, oh god! So I wasn’t ready, but the pandemic forced me to be. After that it was just tunnel vision.”

“My collection is the progress of my design. I started out with evening gowns and that was for me, the dream. The grand moment of everything. It was me escaping my reality and living in that bubble and thinking about what my future will be. And it will be the woman, that steps on the red carpet in these beautiful gowns that transform you.

It’s a Cinderella effect. And the moment you put on my dress, I promise you, you will have that feeling.”

Celeste Victoria's pieces are beautifully structured, the piece I try on at the end of our interview is transformative, as promised. The construction perfection, and as intended able to be worn almost any time of year. Paired back to the matching skort, worn with jeans to instantly elevate, or for almost any season if you layer a roll neck knit underneath. A timeless piece that will see you through every season.

“As I grew and I taught myself more, and now that I’ve lived that dream. My dream has become that reality and now I wanted to share a little bit more of that with a larger population. So I started to scale back with the evening gowns and getting in to that ready-to-wear market so I could touch every person that wants the dream. And you could own just a small piece of my collection. And I call it that small luxury. You don’t have to have everything. You just need one small piece. And all of my pieces most likely break down into individual pieces that can be worn together or separately. So as a matter of fact, a skirt was ready-to-wear version of the evening gown that I showed with Flying Solo in Paris, 2023. This was the (fabric from the) closing piece" (a gold jacquard brocade material).

“Then I decided to create something a bit more wearable for everyday to go from day to night depending on how you style it and I came up with this piece.” (a stunning skirt that could be paired with a t-shirt and a flat for the day or a bralette for a stunning evening look).

“As well, it was the first time I was introducing more of a ready-to-wear so a lot of people didn’t expect it. And I created this top, a halter top in horse print) and a pair of pants and I put it down the runway. And even my friends were like, “Who is that? I don’t know how that is?” Celeste laughs. I said, "Not to worry, I am coming, ok!”

“Also I chose this print because I love horses, but I’m also a lover of great prints. I gravitate to prints and it just tells a story for me and it goes back again to how I started with my grandmother. She really, really just gravitated to a lot of really great prints that she sold every weekend in the market, and that’s how I got into fashion altogether or even in to fabrics. They are all meant to be worn individually or separately. And you can just break them down and you add your personal pieces to it.”

“I made everything that I have, to be worn with your personal clothing, because I love fashion. I can’t just wear my clothes, I’d be bored! So of course I need my wardrobe, other designers, pieces to be worn seamlessly with my design. That’s what I try to do. I mean I live in New York, I’m not going to walk around in stilettoes hardly ever, so I made things that could be worn with sneakers or chunky shoes.”

After moving to America, Celeste lived in Atlanta, Georgia where her father was a chef, but Celeste later made her way to New York. “I wanted the American dream” she tells me, “It was Sex and The City, New York. I didn’t know anyone here! I didn’t even know where New York was but I was going.” Figuring out a way to be able to see the world by becoming a flight attendant, another decision that has certainly changed Celeste's trajectory in life and sculpt who she is as a designer.

“When I was 15 years old I remember meeting this guy and he’s like, you’d make a cute air hostess. I said, ‘What’s that?’ And he said, 'You know those beautiful women who fly on the plane' and I said ‘no', I’d never even been on a plane."

“I didn’t know what I wanted to be as a child, but that stayed in my mind, and I remember, I was at an academic school and they only had one art class, and I was like the number one queen of art class. I knew I never wanted to be a doctor, I’m just not that kind of person. And so I just needed something to hold on to, so when the year book came around and I needed to write down what I wanted to be, I said, 'I’m going to be a flight attendant'. I started applying and I moved to New York.”

In 2020 a curve ball was thrown at Celeste. She was due to go to Paris for a year, “I was going to do a year of learning but then that blew up in my face so it was either going to ruin me, I was very hurt, or I was going to keep going and at the end of 2021 starting 2022, Celeste started getting serious and stepped out of her 'bubble', “It’s time.” She says with a steeliness.

But it wasn’t easy. “You’re talking about leaving my handmade stuff in a store for people to tear it apart. Eventually you have to let go, and you’ll grow and that’s what I did. And with Flying Solo, I saw it on IG and they got back to me and I thought, 'What? I’m going to Paris for fashion week?' It was my dream. And it was the right time."

Having travelled as much as Celeste has and lived the life she has, I am sure I know the answer, but I ask anyway, "What is your main inspiration when it comes to your collections?"

“Life! I need to experience, feel something. I need a reason. It could be something as small as, we’re standing here and looking out the window and someone walks by with an energy, or something that they’re wearing and it just tells a story and I’m just alive. But for me I need life. I need travel. Travel for me, is probably the biggest inspiration. Whenever I go somewhere and come back, I’m inspired.”

I ask Celeste one last question before we wrap up, so curious now about her grandmothers heritage, her story... "Your grandmother, do you know how she learnt to sew?”

Celeste pauses “I don’t…” she says with a look of surprise. “But you know what? I’m going to have to call her and ask her! I don’t know…I don’t even know what her mother’s name is now that we’re talking about that. I’m going to have to ask her about that. She is 92 years old. She’s still in Jamaica. I never thought that this would be my life. I had no idea. But I am so grateful, I am so grateful. I don’t know who I’d be if not this. This is just who I was meant to be.” Looking at Celeste's collection, the passion and fire in her eyes, I couldn't agree more.

I add, “She really has helped inform your future career, of who you’ve become. Seeing all this in front of me here, the talent, the skills she passed down and you carrying it on, she must be so proud of you..”

“She is, ugh, she is” Celeste says, clearly with a full heart, “I actually really need to go and see and that’s what I plan on doing immediately.”

Find Celeste Victoria at :
Flying Solo, the showroom
Online at https://www.celestevictoriany.com
IG: @celestevictoria_ny
Photo Credit: Jordan Tyler. IG: @jordantylerphotography

FLYING SOLO- 2025 : ELIZABETH SOLOMEINA

3/12/2025

Stacy Fan with jewellery designer and founder of Flying Solo's Elizabeth Solomeina

There’s no question, fashion is one of the hardest industries to break into. It’s cut throat and at least to start can feel like there is very little community. Huge funds need to be available up front, to make the collection, have a space to sell the collection, and a runway show? You’re talking $50,000-$100,000 USD.

So the solution? Flying Solo…

I first interviewed Elizabeth Solomeina, jewelry designer and founder of Flying Solo back in 2017. They had been open almost a year, and I found their concept completely inspiring.

Initially Solomeina had started the store with the idea of creating a space that serviced independent designer as a pop-up store. A place to create a customer base. As a jewelry designer, Solomeina had wanted clothes to sell along-side her pieces and also wanted a strong community feel. The idea soon grew from a three-day pop-up store idea to a full brick and mortar store. Designers loved the idea and as new designers came on board, Solomeina ended up eventually needing to move to a bigger space.

Their designers literally built the store. Designing it, home-depot runs, plumbing, literally putting it together themselves and in doing so, they created the absolute epitome of a community. Finally when it was set up, the designers would help with sales, curating the store and when their customers came in, give them the full history of their brand, and show their customers with passion how each piece was made and the inspiration behind the collection. Almost like a gallery of fashion if you will, but one where each piece is available to buy and customers had the honor of meeting the designer themselves.

In addition Flying Solo also pulled together with their designers to put on a fashion show and have done so every year since. And not just in NY but in Paris as well and just expanded to showing in Milan.

Just a few of the magazines, Flying Solo has been featured in. The space, downstairs in the Copper Showroom, where magazine shoots as well as other collaborations take place

They even opened up a Paris store in 2023. "It's been a long term dream for us, because it's Paris! We wanted to do it before covid but then a lot of things happened so we ended up opening in 2023. It's a gorgeous store, it is a little smaller than this one, but it is quite big for Paris. We have a two level store, we have close to 50 different brands there." Solomenia says.

"We continue to do Paris fashion week there. We also added Milan to our shows, so we’re going to Milan again this September. Over all, we just keep growing. We believe growing day by day, every time designers come to the stores they leave with this amazing feeling of they’ve arrived to a big stage. We want to make it all for them."

Flying Solo in New York

Having been there from the first store, Solomeina says, "You remember when all the designers had to do everything for themselves, the co-op (model)? Of course we changed it during that time. It wasn’t possible to have all the designers under one roof. Not everyone lives in New York. The majority of us don’t live in New York, but we’ve always wanted to create that sense of community, so they come to our shows. That’s the time we have the most number of designers in one place under the same roof."

The support and community feel that Flying Solo give is unmatched, "We do the majority of the work for them but the same rule applies. The show was always ‘By designers, and for designers’ And the majority of our crew are still designers. The original crowd that know how, maybe nervous or painful it is to do your first show or how hard it is to put your first collection out there, for people to judge, but we are there to support them. We are there to say to them that a lot of brands come back season after season. There are a lot of brands that stay in the store forever. And they do see a lot of value in us, and how we treat them. And we grow together, honestly. Everyone I saw at fashion week, there were people who had been with us since the Mulberry store (their first store). They, for instance only do shows now. For many reasons, they don’t want to be in the US market, they just want to do shows. But they all say how far we’ve come altogether. Starting from those small shows, to gigantic shows that are covered by a lot of press."

Elizabeth Solomeina after Paris Fashion Week

The tenacity that Solomenia has always shown has been so impressive, so although Covid was their "hardest test" I had no doubt that she would do everything to survive, I ask Solomenia how she got through that time, when so many others folded?"

“Honestly, the power of community was the most important thing, because reality, Flying Solo wasn’t just another store. Even though times were tough, designers stick together to make sure that we will still survive all of that, so 2021 was better than ever. It made us feel stronger as a group. Everyone was so ready to come back and we did everything that we could to open as early as possible. Funny story, the only way you can open earlier is if you were selling masks. We had a sewing machine downstairs and some fabric. so we actually started making masks. It was the only legal way for us to open. The smaller designers need to stick together to figure out a solution and because it was a shortage of masks it was quite a successful way for designers to make some money, so we did..."

Flying Solo were then able to open three weeks before everyone else could. And not only did they open, they continued doing NYFW.

"The Covid shows, in 2020, we did outdoor shows. September was fine because the weather was good, but then February came and everyone is going, ‘You’re going to skip the show right?’ And we said, 'There’s no way we’re skipping it..!' And everyone is saying, how are you going to do it, and on top of it, in NY they basically closed all the venues and said you can do stuff, but outdoors. So we’re like ok, so the only option is to do outdoors, so we’ll do outdoors. It was quite brave. At the beginning the designers were like, ‘Are you crazy? Are you actually going to do it?’ We’re like, what a lot of people do not see, is a lot of shows will not go live. It will actually be very few. By doing it, we’ll get a lot more attention to ourselves. And that year, it was only four shows that went live in that entire fashion week. Because it was so miserable everyone had to do it outdoors. So we did, and we got so much press. And people were just in awe that someone could pull it off. We just kind of said,

Fuck it..’ it’s us against the world anyway as a small designer, so it’s nothing new. It’s how we started.

And it's this kind of thinking that has made Flying Solo such a huge success. Fashion week was still officially on, but the amount of people that came even shocked Solomenia, "I didn’t expect so many people would come to support us. It was very cold that day, but our rooftop was full of people, they did not leave. We did four or five shows and they did not leave. And yes we were very cold by the end of it, I don’t even want to talk about the poor models, but even they were like, you know what, we need to do it, for the sake of everything. For the sake of designers, the industry, morale.. they all did it. And they said actually it was the funnest thing. Even the designers themselves, they didn’t even feel cold themselves, because they were just so excited that we were doing it. That we somehow against all odds that the show is happening and we’re here together. We kind of expected a few would show up, might as well but I said, no guys, we’re all going to do it, trust me. It’s going to happen. No matter how hard it’s going to be, our team will do it. And you should join and we had a really big show that time.. So we did it!"

A glimpse of a masked up, bundled up audience watching Flying Solo's show during Covid.

"I think what it taught us that no matter what, we’re going to survive. You can throw us the craziest thing and we’re still going to figure it out. We still do shows outside, only in sepetember, but when our designers ask us, what if it’s going to be bad weather? What if it rains? I say, we did it in snow, in cold, we did it outside in February. So trust us a little bit of rain, a lot of rain, it’s really not going to kill our show. We’ll figure it out."

It's amazing how Flying Solo, despite the growth has retained a community feel. Solomeina says, "Although they aren’t working in store anymore, we encourage them (designers) to come in, a lot of designers will do events here. We do a lot of community things, so we have what we call, The Flying Solo Club, so once a month or once every other month and we’ll get together and host a dinner here or we’ll go out altogether. And do a party in another place, or collaborate with another venue. So basically for the purpose of maintaining a community, because again not all of us live in NY anymore. This is the way we grow, we cannot possibly only choose designers from NY. That would be quite limiting, The essence should stay the same of Flying Solo, by designers for designer, designers supporting designers and we’re always collaborating instead of competing."

As for the shows? "The production becomes so much easier for them because you already know how everything needs to be done. So I think this show (NYFW 2025), was the best one yet. Definitely the smoothest one yet! And we’re very happy about it. We just keep growing."

As for Soloemeina's own brand, "I’m developing two lines. One which is this (the more ready to wear), and one is bespoke. Which is one of a kind with baroque pearls. There are only four left, the rest sold out. They’re for different clients. The RTW is more affordable price points, easier to wear everyday, the other are more for special occasions, although you can probably wear it for work!

Pearl ring by Elizabeth Solomeina, cuff by Flying Solo OG designer, Iza by Silvia Davila.

Flying Solo is located at :
419 Broome Street
Flying Solo IG: @Flyingsolonyc
Elizabeth Solomeina : Solomeinajewelry

With thanks to Bayr Ubushi

INTERVIEW: PAUL TAZEWELL - OSCAR NOMINATED COSTUME DESIGNER FOR WICKED DISCUSSES CREATING THE WORLD OF OZ. - #SKETCHTOSCREEN SERIES PART ONE

3/1/2025

Today's Sketch to screen Panel for 2024's movies (L to R) Oscar Nominated Costume designers Janty Yates and David Crossman for Gladiator II, Arianne Phillips for A Complete Unknown, Lisy Christl for Conclave, Linda Muir for Nosferatu and Paul Tazewell for Wicked.

Every year, the day before the Oscars, UCLA host a Sketch to Screen series moderated by Deborah Nadoolman Landis. It's a chance to hear the Oscar nominated costume designers speak to their experience of working on the movies nominated, a sneak into the world they created, the thought process behind it, and the time (or lack there of) that they had.

When a movie is created, one of the first things that brings it to life is the wardrobe the characters wear. The clothes they inhabit speak so much to who they are and the world in which they inhabit. It can express their aspirations, where they've come from, where they're going and just how they identify, before even a first word of the script is uttered.

This couldn't be more true than with Jon Chu's screen adaptation of Wicked. With its huge fan base and spectacular set, the costumes were designed to match.

Here Paul Tazewell talks about his experience working on Wicked. How he navigated bringing the world from stage to screen; what his worst moment on set was, as well as his biggest win.

Photo credit: Wicked Instagram

NAVIGATING WICKED FROM STAGE TO SCREEN.

When I was asked to design the costumes for Wicked, first, I was delighted and then I went to Susan (Hilferty, costume designer for Wicked's stage production) out of respect, to get her blessing. I knew there was going to be some element that needed to honour what she had created.

We sat down for dinner and we went through that whole process. If you think about Hamilton, to have someone else design that for screen it would be hard. And what I realized, it’s a different experience. And that’s what you know as a theatre designer.

When I was asked to design West Side Story for Steven Spielberg, it was similar. To have this beloved piece, from the 60s, that everyone loved. I loved it, it’s one of my favorite films. And one of my favorite designs, by Irene Sharrif and the way she uses color to underscore what is happening and I embraced that as I was designing my production of West Side Story but from a different brand.

I’m going to see design differently. We all see design in different ways. And I wanted to inspire the same feelings that I got from seeing the original film and then thinking about Wicked that’s the exact same thing. I am hopefully tapping into this huge fan base of Wicked from the experience of the Broadway show and acknowledging that, but replacing that with a different visual and it can feel nostalgic, but not a copy of it, and that’s manipulated how I was going to connect the world. And because it’s Jon Chu (director), he has his own point of view on how he sees the world of Wicked, it became easier to imagine a different world. If it was the same director it would be more difficult. But with someone who was tasking us with creating a brand and vision of what Oz could possibly be, it was much easier.

Photo credit: Wicked Instagram

In terms of shifting from stage to Broadway, from broad brush strokes to minute details, on shifting from stage to screen, how did he accomplish that?

Tazewell says, "As theatre designers, you’re always trying to manage scale. You design for Broadway, you’re always thinking of detail at a certain scale, versus how you design for a big opera, versus how you design for a Broadway show, so I think you’re always managing that in a different way than you do for film.

But for film I knew that, and this was from multiple meetings with Jon and the production designer, we wanted it to be very immersive, we wanted it to draw the audience in, to believe that this place could possibly exist. In order to do that we had to create rules than governed this whole world. That the design, and each of those rules if you design into the corners and into the themes of all the clothes, really understand what is the potential about the way, about how they design their clothing, how they identify themselves, how they identify themselves in different ways. And we had to decide that so that we could then move forward and design the actual production. But we needed to have a consistent feel the whole way through. So that the audience could launch into it and for the ride. And have that be as consistent as possible.

Asked what Tazewell's worst moment on set, then an "I did it!" moment?

The worst moment was being accused of holding up shooting because our leading lady, didn't...wasn’t feeling comfortable.

She didn’t show up on time?

Erm, she was on time..yea..

"OK was that the pink lady?"

"Who do you have?" Tazewell says, not answering the question.. with a smile.

"OK...and your 'I won!' moment?"

Oh gosh that was all the way through, but probably, it was the ‘pink lady’ coming out in the pink dress for the first time..

ANNA SUI RTW SPRING 2024

9/13/2023

It's been a strange NYFW. Despite being arguably a fairly volatile time, both politically as well as environmentally, it's quite surprising the lack of subliminal messages that designers have shown in their collections. Particularly given that historically, many designers have taken the opportunity in seasons past to show their own thoughts on pressing matters, or even try and evoke some sort of change, the messages thus far have been somewhat quiet.

However Anna Sui's collection took a different approach. Despite the fact that the designer isn't one to usually show layered political messages as the undertone of her shows, and by her own admission doesn't consider herself an activist, this collection, Sui felt compelled.

“One of the most gorgeous sights I’ve ever seen is the underwater coral reefs and sea-life when I visited Australia’s Gold Coast. The reality of this and all the coral reefs around the world disappearing has shocked me into realizing the fragility of everything.”

Sui continues “In 1903 and 1907, George Melies filmed The Kingdom of the Fairies and Under the Sea. My vision of underwater has always been this fantasy world of exotic fish, coral, and mermaids. Who hasn’t dreamt of going 20,000 Leagues Under the Sea or scuba diving like James Bond in the Caribbean, The Incredible Mr. Limpet, the undersea explorer Jacques Cousteau, and more recently, My Octopus Teacher.II”

Sui’s fabrics and prints throughout the collection are a celebration of the sea. Iridescent, fluttery, shimmery, and swirls of colors and tones emulate the dazzling effects of Mother of Pearl and shells. The jacquards are metallic or iridescent with prints on top.

Some of the more unusual pieces, a botanical warp print denim and an opalescent knit. Gingham is beautifully paired with embroidered organza with iridescent sequins. “I love the oversized fish sweaters in pastels layered over giant gingham and glitter print jersey. Giant eyelet in pink and cantaloupe. Mini arcadia blossom printed floral in a princess dress and a boudoir bed jacket. Riviera crochet bathing suits, metallic palm leaf jacquard, and terry cabana jacket and skort are perfect for an island paradise. Kaftans and princess dresses shimmer and shine when mixed with ocean color tie-dye denim, Pisces jacquard and waterfall sequins.”

The Accessories served to create a further cohesion of the collection with pieces including iridescent crochet hats and bags, airy fluttery kerchiefs, over-sized shoulder bags in sequins as well as print and velvet, and mini bags also in gingham, terry, and Mother of Pearl. The John Fluevog sandals are tie-dye leather and the mules in celestial sequins or metallic leather with a conch shell heel.

The jewelry by Erickson Beamon featured shells intricately decorated with iridescent beads and bubbles. Butterfly and rhinestone trim cat-eyeglasses are by Anna Sui Eyewear.

The collection was romantic aethereal and fluid, whilst expressing Sui’s love for the underwater world, and love letter to a world that could be lost. If you would like to learn more visit missionblue.com

Credits

Models:
Heather Diamond Strongarm
Diane Chiu
Sara Grace Wallerstedt
Avanti Nagrath
Dahan Phuong Oanh
Aubrey Hill
Danielle Zinaich
America Gonzalez
Lulu Wood
Yoon Young Bae
Evie Harris
Lyra Westecott
Heather Marks
Jordan Daniels
Enya Davis
Cristina Piccone
Amelia Gray

Photographer:
Raoul Gatchalian
Jonas Gustavson
Gerardo Somoza (@gerardosomozaphotography)

Makeup:
Pat McGrath Labs (@patmcgrathlabs_contact)

Hair:
GARREN for R+Co BLEU (@randcobleu)

DIAMONDS ARE FOREVER- KEVAN HALL FALL 2023

2/18/2023

1950’s glamour and Shirley Bassey’s “Diamonds Are Forever” served as the inspiration for Kevan Hall’s Fall 2023 collection, aptly named FACETED.

As a reworked upbeat version of Bassey's "Diamonds Are Forever", played out, Hall's latest collection made its way down the runway on February 15th, 2023 in New York's West 3rd Club in the Grand Ballroom.

The setting as well as the perfectly remixed music mirrored Hall’s inspiration of mixing iconic silhouettes with a unique twist. This collection capturing the sophistication and aspiration of 50s elegance with strikingly refined pieces, that are both timeless yet entirely current in their aesthetic. Something Hall is synonymous with.

Using a wide color palate of monochromatic black and white, all the way through to ruby red and emerald green, Hall’s gemstone palette was there to match, using everything from Emerald and sapphire, to Ruby and amethyst which he juxtaposed with the softest crepe as well as more luxe fabrics like velvet.

Hall created a unique prismatic effect on many of his pieces by using crystalline structured materials that were used to refract light, creating a stunning gleaming effect on the runway.

Hall’s use of tweed was a nod to Parisian wear. Whilst the high gloss metal on these pieces were used to update the look which resulted in classic pieces with a modern twist. The silhouette of his suit jackets, adorned with gems showcased the collar bone, creating a show stopping evening look that could be styled in a multitude of ways and worn for a beautiful dinner all the way through to a black tie event. A true hero piece in the collection.

Another stand out in the collection was the capri pant and off the shoulder blazer suit that once again balanced timeless elegance with modern sophistication.

The diamond inspiration ran throughout with the use Jeffrey Daniels Unique Designs of Gem Platinum as well as the high-style jewelry which was used with almost every look.

Evening classic glamour, meets Parisian sophistication and understated elegance. Another beautiful and timeless collection from Kevan Hall.

Photo credit: Arun Nevader

Credit : Connor Morgan / 18 Mile Media

14TH PRESENTATION OF THE ART OF COSTUME DESIGN IN TELEVISION

8/29/2022

It’s hard to believe that I’m sitting here in August 2022 still talking about the effects of the pandemic, the impact that it’s had on all of us and the way in which it has changed the world forever. We no longer see the world the same way and in turn aren’t doing things in the same way. Day to day, the way we even attend the office and certainly, events have now changed.

Through some of those darker days of the pandemic, as production came to a holt and theatres went dark, one thing so many of us could agree on, was that art in all its forms, is important. It provides an outlet for dreams, a light when there was so much darkness and uncertainty and sometimes just a place for pure escapism when we needed it. Even providing a means for us to make sense of what is going on around us.

Going back to a FIDM Museum event, this one being the always wonderful presentation of the Art of Costume Design in Television exhibition opening, the first one I’ve attended since the pandemic began, was a special moment. Seeing the genius creations of the costume designers, the collaborations with writers, and sometimes even the actors themselves, recreating eras of old Hollywood, reimagining moments of history, as well as sometimes creating an entire world, all from the beautiful minds of artists, gave us a chance to celebrate those who’ve brought light, joy and entertainment to us with their labors of love, hours of work and talented hands all under one roof at the FIDM Museum.

And Just Like That- Costume Designer: Molly Rogers

The event was a different kind of affair to years gone by, more intimate, a moment to truly celebrate the costume designers and their well-earned Emmy nominations. This year’s exhibition, the 14th of its kind, includes 13 shows that are Emmy nominated for Costume Design and held at the FIDM Museum at The Fashion Institute of Design and Merchandising, in Downtown Los Angeles.

Shows running on traditional as well as streaming platforms are on display, and with a variety of genres, including episodic series, limited series and variety programming.

Displaying a huge range of costumes including period, contemporary dramas, quirky comedy to Sci-fi fantasy, there really is something for everyone.

So if you’re in Los Angeles from now, until November 5th, run, don’t walk to this wonderful free exhibition. It’s your chance to see the work of costume designers from your favorite shows up close. You’ll gasp in amazement at the details and ornate work of these spectacular costume designers in a time where we are feeling even more grateful than ever to be able to go to exhibitions again and see some beautiful art through fashion up close and personal.

Below is just a small peak of what you'll see at the exhibition!

The Marvelous Mrs. Maisel - Costume Designer: Donna Zakowska

Emily in Paris- Costume Designer: Patricia Fields

Grace and Frankie- Costume Designer: Allyson B. Fanger

Black-ish - Costume Designer: Michelle R. Cole

Bridgerton Costume Designer: Sophie Canale

THE DETAILS:
FIDM Museum address: 919, Grand Ave, Los Angeles, CA, 90015.
Gallery Hours: Tuesday – Saturday. Closed Sunday
Event cost: Free
Dates: Now (August 23rd) until November 5th 2022.

KEVAN HALL : TRADING POST

2/17/2022

One of my last reviews of a collection, pre-pandemic was the incredible emerging designers, and the wonderful founders of The Black Design Collective. So it only seems fitting that the first collection review I do, as we begin to see light at the end of this arduous two-year stretch is to review Kevan Hall’s beautiful collection. One of the founders of The Black Design Collective and a career that spans over an incredible 38 years, Hall has dressed everyone from Jacqueline Kennedy, Michelle Obama to Charlize Theron.

Kevan Hall’s collection is what many of us have been dreaming about from the beginning of 2020, wondering whether PC (Post Covid) life and the way we dress would look the same as it did before? Would we still be dressing up? Or would athleisurewear be the way forward? Thankfully, Hall has given us all the best kind of hope with his Fall / Winter 2022 collection. Much like the fashion post prohibition we are ready and longing to dress us up and travel once more. And Hall has given us just what we need with his collection, Trading Post. Inspired by days gone by. Back to a time when travelers would trade their goods, mythology and handcrafted textiles from Morocco to Mali, to the fabled Tarshish.

Hall has used regional fabrics mixed with gold and copper metallics, and in doing so has given us a reconceptualized dazzling transportation back to the era of maritime trade and luxurious beauty.

Hall’s second collection back on the runway after a twenty-year hiatus from showing has done nothing to dim the light on his show nor collections. Always retaining a modern take on timeless pieces, he has once again excelled himself. Plentiful in luxe pieces with the use of rich jacquards, matelassé and brocades, Hall completes his storytelling of this historical yet modernized journey through these fabrics, bringing us to an extraordinary juncture and much longed-for unanimity from far and remote locations.

Setting the scene for our journey, both traditional and contemporary Moroccan as well as Middle Eastern furniture and antiques were used in a warehouse setting. Feminine day dresses with abstract and animal prints billowed their way through the exquisite backdrop as the show begins. Moving into the mid-section of Hall’s storytelling, gives us the rich tale of abundant beauty told through tailored pieces in luxe materials including brocade. Ending the mythical journey with spectacular eveningwear so synonymous with the designer.

With the use of metallic florals, and rich drapery the result was a stunning flow of graceful fluidity and movement. The final showstoppers of this transportive tale through time was created by Hall’s use of black and gold sequins on the gowns and suits, and the Arabesque influenced metallic and matelassé used on the outerwear. The suits were sexy but worn with such ease, a sign of tailoring to perfection. The jacquard mandarin cut blazer belted to cinch in the waist was another hero piece as it encapsulates his entire collection, luxe fabric, stunning tailoring, and modern yet timeless in its silhouette. Whilst the final dress with its cutout sides and matching gold embellished weighted coat was a complete showstopper.

This dream of a journey was what we have all needed after a two year pause on glamour, fantasy and event dressing, but Hall has certainly brought us back with a bang.

KEVAN HALL FALL/WINTER 2022 NYFW

Photo credit: Evan Hall.

THE MET GALA...YOUR INVITE TO THE 2020 EXHIBITION PREVIEW

5/4/2020

The first Monday in May. The Met Gala, fashions biggest night out, was cancelled this year. Making the decision back in March 16th 2020 due to Covid-19. Today would ordinarily be the day that marks the opening of the Metropolitan Museum of Art spring exhibition.

The Met Gala event, which began in 1995 is organised and overseen by Anna Wintour. As well as the pure glamour of the night, one of the Gala’s purposes is to be a fundraiser for the Metropolitan Museum of Art’s Costume Institute. Raising money in eight figure sums, with last years 2019 exhibition breaking records by raising $15 million USD dollars.

Whilst the Metropolitan Museum of Art museum will be missing this years gala as well as the fundraised money that accompanies it, the Museum is moving forwarding and has announced that the new exhibition, now scheduled to open on October 29th 2020 shall be “About Time.” And can be previewed on the Metropolitan Museum of Art museum website.

The 2020 exhibition which marks the Met’s 150th anniversary, will celebrate a century and a half of fashion, starting from 1870 to the present, using a disruptive timeline.

Drawisng on Henri Bergson's concept of la durée (meaning duration), it will take an exploratory look at how clothes, “generate temporal associations that conflate past, present, and future.” (www.metmuseum.org) whilst Virginia Woolf will be used as the "ghost narrator" of the exhibition.

Spread over two adjacent galleries, a timeline of 120 fashions will tell the story through “60 minutes of fashion”, symbolized by two large clocks in the galleries. For every minute, a pair of garments will be featured. The primary garment symbolizes the linear nature of fashion whilst the secondary work symbolizes its cyclical character.

‘Each pair will be connected through shape, motif, material, pattern, technique, or decoration. For example, a black silk faille princess-line dress from the late 1870s will be paired with an Alexander McQueen "Bumster" skirt from 1995. All of the primary garments will be black, to emphasize their evolving silhouettes, and the secondary will be either black or white, to underscore their mutually reinforcing associations.’ – (The Met Gala.)

Click above to read Michael Cunningham's Short Story

Concluding the exhibition with a small selection of garments from 2020 that amongst other ethical issues prevalent to the next decade of fashion, will explore the relationship between the concept of duration as well as the conversation of inclusivity, the debate about diversity, sustainability, traceability, transparency, longevity and collaboration.

For those looking to still celebrate the Met Gala and its exhibition, a reading list from Virginia Woolf’s “About Time” can be found on their website as well as an interview and an excerpt from Michael Cunningham's short story “Out of Time” that he wrote for the catalogue can be previewed. The catalog is also available for pre-order.

Anna Wintour at The Met Gala - Photo credit, The Met Gala Official Instagram

For those truly nostalgic for the event and were looking forward to seeing this years looks, the site is also looking back at the last five years of The Met Gala to help fill the void.

What do we know about was planned for this years event?

Whilst we don’t know the guest list as it’s not realized until the night before, each year about 600 guest are invited. Invited guests don’t pay to attend, however the gala raises money by charging those non-invited guest to buy tickets. Priced at approximately $30,000 USD, and tables costing around $275,000.

Gala favorites in previous years have been Rihanna who has also co-chaired, Beyoncé, as well as Lady Gaga who co-chaired last years gala and did four outfit changes on the red carpet!

THIS YEARS THEME

Tilda Swinton, Orlando

Given the exhibition is “About Time” Curator of the Costume Institute, Andrew Bolton was inspired by Virginia Woolf’s novel, Orlando, but more specifically the 1992 Sally Potter film, based on the novel.

Bolton said, “There’s a wonderful scene,” he said, “in which Tilda Swinton enters the maze in an 18th century woman’s robe à la Francaise, and as she runs through it her clothes change to mid-19th century dress, and she re-emerges in 1850s England. That’s where the original idea came from.”

The Hosts:

Each year a host is appointed and this year was going to be co-chaired by Nicolas Ghesquière, Lin-Manuel Miranda, Meryl Streep, Emma Stone, and Anna Wintour.

who was attending?

Whilst we don’t know the guest list as it’s not released until the night before, each year about 600 guest are invited with a celebrity serving as a designers muse and its most usual for them to attend with the designer. Invited guests don’t pay to attend, however the gala raises money by charging those non-invited guest to buy tickets. Priced at approximately $30,000 USD, and tables costing around $275,000.

Gala favorites in previous years have been Rihanna who has also co-chaired, Beyoncé, as well as Lady Gaga who co-chaired last years gala and did four outfit changes on the red carpet!

With everything going on in the world at the moment, this certainly pales in comparison, however it is a night that will be missed, so here’s a look back at some of the best Met Gala moments over the last five years!

A LOOK BACK BEFORE WE LOOK FORWARD
2015-2019

For more information visit https://www.metmuseum.org

COVID-19 : WHAT DOES IT MEAN FOR THE FUTURE OF THE FASHION INDUSTRY?

4/15/2020

Anna Wintour wearing a protective face mask during the pandemic.
Photo credit: Vogue Instagram

Is this a frivolous question, do people even care? It might, at face value seem like a superficial question to ask given all that is going on in our world at the moment. However it’s also important to note that we are living through a historical moment and fashion during times of crisis has always played a significant part.

Some might argue this pandemic may change fashion more than any other event we’ve seen in history so far, both structurally and creatively; Why? Because when this is all over, unlike a war, we won’t, for some time at least, be able to comfortably congregate in the way we did before, giving way to questions over how we will move forward with collections? Will we finally be choosing sustainability over fast fashion or will It have the opposite effect in the face of this economic crisis? And what will fashion shows look like going forward?

FIDM: Photo credit: FIDM Instagram

HISTORICAL EVENTS AND FASHION

When we look back during times of war, we can in part see the nations response through their clothing. Fashion is certainly indicative of how people are feeling during that period and a reflection of the times. Uniforms created in order to allow men to fight and women to work. Fashion magazines showing women how to wear pieces in their husband’s wardrobe to enable them to spend their clothing allowance on other, more pressing items needed, as well as making their wardrobe more practical for their current situation.

Now we are living through a time where Forbes magazines and fashion magazines are showing us how to make masks, to protect ourselves and others as much as possible from the Coronavirus as masks are sold out everywhere, even medical staff can’t get their hands on enough personal protective equipment (PPE).

Photo: Courtesy of Collina Strada

A CRISIS : THE FASHION INDUSTRIES RESPONsE

In response, some fashion brands are using their factories to manufacture PPE. Parent company of Christian Dior, Louis Vuitton, Guerlain and Givenchy, LVMH, began manufactoring hand sanitizers, providing it to French health authorities for free. Meanwhile Louis Vuitton repurposed some of the Mason's ateliers across France to help produce hundreds of thousands of non-surgical face masks. In partnership with the Mode Grande Ouest textile network, this initiative was set up to fight the pandemic, donating the PPE to frontline healthcare workers.

FIDM (Fashion Institute of Design & Merchandising based in Los Angeles) have been admirable in their efforts to help. Having been inspired by the communities’ efforts, they came together with The Major of Los Angeles, Eric Garcetti, to donate fabric to L.A. to aid in making protective gear for Angelenos during the pandemic.

Garcetti has partnered with Kaiser Permanente to develop the design specifications for non-medical masks. Alligning with these specifications, FIDM has donated over 600 yards of cotton woven and cotton knit to make the face masks.

Photo credit: FIDM Instagram

3D printing is also being used to create ear guards for masks in order to protect hospital workers faces so the masks don’t dig in quite as much. Even some of the more ‘woke’ bloggers are churning out the ear guards on 3D printers to help keep up with the demand.

Photo credit: LVMH Instagram

OUR DAILY LIVES AFFECTED

For those of us lucky enough to keep our jobs and work from home, how have we been affected? Even in a very basic way it’s affecting us on a daily basis. Whether or not you are in the fashion industry it’s changed all of our daily wardrobes, seeing us pulling out pieces that are work from home appropriate, comfortable pieces, yet items that give some nod to professionalism. This time has shown us that despite being at home all day, we need to get dressed, in order to function as we normally would, to feel productive, to give ourselves a sense of self-worth and yes, to even cheer ourselves up.

It’s also important for those Zoom and other video meetings to show both our colleagues and bosses that we are still in fact functioning human beings. It’s shown us how important it is to have a routine. To get up, shower, do our makeup and pick out our clothes. Catt Sadler has even created “Formal Fridays” on her Instagram, having followers dress up in their finest every Friday. For every tagged photo, (#formalfridays) she is donating to an organization helping to fight the pandemic.

Photo credit: Catt Sadler Instagram

Tops and jewelery have suddenly become the hero items both online and in our closets. But what of the bigger picture? As we say goodbye to the first month (in the U.S at least) of quarantine, fashion magazines are having to find a new way to speak about fashion. Unable to shoot new collections for editorials, how do we communicate through fashion without being able to showcase it in the traditional way?

The fashion industry doesn’t only move with the times, it embraces it and arguably it helps with change. In recent years more than ever before, fashion isn’t just about clothes, it’s about conveying a message. So what will happen to the fashion industry as we see ourselves evolve through this pandemic and what about the fashion shows themselves?

Chiara Ferragni - wearing a Christian Dior, "We Should All be Feminists" T-shirt

FASHION SHOWS: THE FUTURE

As a fashion editor, I’ve been going to fashion shows for several years now. For me and many others, it’s a chance to see the clothes up close, to report on the show and share with readers what’s likely to be trending that season. However it’s more than that. I find fashion shows an emotional experience. You might scoff at that, but it’s a moment where designers are connecting with us. It’s the show as a whole, the clothes of course, but the message conveyed through the collection. It’s a story, a piece of theatre condensed into a few minutes. It’s months, maybe even years of hard work, it’s their message to us and to the world. A good show gives me goosebumps, a really great show can make me tear up. To see the talent and beauty that designers are bringing to us is a privilege and in my opinion important. It’s a form of art and even in the darkest of times, perhaps even more so, art is important. We turn to it, we need it. But what is the future of fashion shows after the pandemic and what will fashion look like?

Stacy Fan headed into a show during NYFW (full look by Janna L- designer and founder of 5ifth Fashion Week store.

It’s unlikely that for the forseeable future we will be congregating in the way we once did at a show, let alone a whole fashion month, jumping between NY, London and Europe. But how will they adapt? Fashion shows have already changed significantly in the last few years. But let’s go back to the beginning.

Fashion shows first began back in the 1860s, when English fashion designer, Charles Frederick Worth, used live models to show his clothes in Paris in place of traditional mannequins. It was he who was a pioneer in setting trends of what women would be wearing. Instead of women choosing for themselves, giving ideas or instructions of what they wanted their tailor to create for them, a new era of trend dressing had begun.

Revisite le Calle, House of Worth, Paris

But what can we expect for the future of shows? In recent years they have gone on to become spectacles, from Karl Largefeld turning The Great Wall into a runway for Fendi, to recreating an airport terminal and taking his show to a beach recreated indoors for Chanel. And Marc Jacobs, another designer notorious for his spectacular shows, had his models come down on four escalators on to a yellow and white checked flooring for Louis Vuitton.

When we look back at this time, I wonder what changes we’ll have seen as a result of this pandemic. Will we see a new kind of show, with more designers simply choosing to show online perhaps? And from this will there be an emergence of a new way of shopping? The, ‘See now buy now’ concept hasn’t taken off, at least in the mainstream, as we still have a huge lag time (6 months, a lifetime in fashion) for the most part between a show and customers being able to purchase the piece.

Louis Vuitton SS13

As for the shows for FW20, Giorgio Armani was forced to do his show in a completely empty theatre in Italy as models walked the runway with no audience for his Women’s FW20-21 fashion show as a, “Preventative measure decided by Mr Armani to support national efforts in safeguarding public health.” Instead the show was streamed online at Armani.com with Mr. Armani taking his bow at the end of the show to his online viewers.

Giorgio Armani showcasing his FW20-21collection in an empty theatre

Giorgio Armani stands to thank his online audience.

Stacy Fan interviewing new designers. Photo credit : Eurasian Vogue Instagram

TIME FOR CHANGE?

In more recent seasons I’ve seen designers taking a departure from traditional shows, choosing presentations over full shows, picking unusual locations around the city. So what will be next? I don’t foresee us taking everything online, but the fashion industry has been edging its way to a different way of doing things for a while. Is this the push needed in order to really mix it up and take it into a new day?

The industry like every other is being hit hard. Sadly new designers will be feeling the sting the most, with us potentially heartbreakingly losing a whole generation of new designers who may not make it out of this pandemic with their businesses still intact. From manufacturing and production stopping, to collections and orders on hold. It’s an unprecedented time for the 2 trillion-dollar industry. An industry that is responsible for creating around 300 million jobs globally.

However, most importantly we also have to remember that it is an industry that is one of the biggest culprits of pollution and we need to take responsibility for that. I have hope that even if sustainability takes a step back during this time of crisis, I believe later it will become a priority, it simply has to. If this pandemic has shown us anything, it’s the reality that if we don’t have our health and a world we can comfortably live in, then what do we have, really?

THE FUTURE: SUSTAINABILITY

One conclusion I think we can all come to is that we need to be better, to do better. Could this pandemic be the final push that we need to move towards a more sustainable future? Factories currently aren't able to manufacture at the same quantity as before. As a result, consumers are beginning to realise that making clothes, even those before considered fast fashion, does in fact require a large expenditure of labor and that it isn't without cost, both monetarily, but the largest cost is at the expense of our planet. We have been edging our way very slowly to becoming more sustainable and more aware, but this pandemic may be the biggest shake up needed to really challenge peoples previous notions on the production of clothing.

We’ve undeniably taken far too much for granted for so long. Hopefully from this we shall all become a little more aware and a little more grateful. Whilst we’ve all been in quarantine, the planet has had a chance to heal. Recent recordings conducted by NASA (Earth Observatory) show carbon dioxide emissions have decreased and air pollution has lessened. Is this the wake up call we needed to realise where we can cut back even once the lockdown has lifted? Will it change both our outlook and buying habits, which will in turn impact the fashion industry as we demand sustainability over fast fashion? Who knows what the future holds, but as far as the fashion industry goes, one thing is for sure, it will, as it has always done in times past, evolve.

Christian Dior - A brighter outlook post war.

BRIGHTER DAYS AHEAd

During times of pain, beauty emerges and with that comes hope. Let’s not forget that out of the war came Christian Dior. Quickly garnering himself the reputation as one the most prominent courtiers of the twentieth century. His first collection, which he showed in Paris during a fashion show in 1947 marked a new era.

Dior was the first designer to allow photographers in to capture the show. It was another step in the evolution of the runway show, marking how we publicize shows to this day and a massive shift creatively from the severe clothes and uniforms worn during that time. His collection was symbolic of a new, brighter day. As a result, the editor during that time for Harper’s Bazaar, Camel Snow, called the collection, “The New Look” as Dior embraced the most feminine silhouette, full bodied skirts and a cinched in waist. A silhouette that has become synonymous with the brand even today. It was more than a collection; it was a new way of life. A re-birth. What will emerge from this pandemic remains to be seen, but as history has proved, we will continue, we will move forward and we will emerge stronger than before.

Christian Dior, "The New Look"

Christian Dior Couture SS11

Here’s how to help those affected by the coronavirus pandemic via CNBC

In the United States, Lunchboxes for Love set up by DK's Donuts Founder, Mayly Tao is providing lunches for healthcare workers. Click to visit their instagram for more information and ways to donate.

WHEN OUR WORLD IS TURNED UPSIDE DOWN...

4/10/2020

Q AND A WITH PSYCHOLOGIST ANN FAN

Stacy Fan with mum and psychologist Ann Fan

Whenever my world is turned upside down, one voice that can comfort me is my mum. Despite the fact that she lives in England and I’m in America, she’s just one call away and she’s great at calming me down. It just so happens that my mum, Ann Fan, is also a practicing psychologist for over twenty years, so in addition to being there as my mum, she can also help me in practical ways when it comes to managing stress. Recently, mine and everyone else’s life the world over changed. This time, I called my mum, not only to talk about the pandemic we are going through, but to also ask her to work with me on an article that would hopefully help anyone who was feeling anxious, depressed, confused or stressed during this time.

Ann Fan is a cognitive behavioural therapist with the following qualifications: LL.B (Hons); (B.A. (Hons) (in psychology); MSc (health psychology); PDip (in cognitive behavioural therapy); accredited cognitive behavioural therapist with the BABCP (British Association for Behavioural and Cognitive Psychotherapies). Here I ask her what we can do to take care of ourselves, handle the anxiety we might be experiencing and how to get used to our ‘new normal’.

But before we begin, let’s start at the beginning. A few weeks ago, the world as we know it changed. We’d heard about the Coronavirus back in December 2019 when we saw the news and were told that China, more specifically Wuhan, had been hit with the virus. China responded and were going into lockdown. Residents were only allowed out to do grocery shopping, having their temperatures checked as they came in and out of the store. They had to give their phone number in case someone later became infected, so those recording it could track everyone who had been in contact with that person. It sounded awful, some of us had friends and family who were being affected, but it felt far away. We sympathized but we didn’t know.

Fast forward a few months. Europe is hugely hit with the virus, America begins shutting down flights, Europe included, U.K and Ireland were exempt. It continues to get worse, U.K and Ireland are now included in the ban and Italy is drowning in the number of cases. America (we don’t know it yet) won’t be far behind. As I write this, the U.S has overtaken both China and Italy with the number of people infected with the virus. I’m now writing this from my home in Los Angeles, as we too are under order for ‘Shelter In’. The 16th of March was the day all restaurants stopped dine-in; gyms, theatres and shopping malls closed. Today, all schools except a few with children of parents working on the frontline, (the true heroes today, doctors, nurses, hospital cleaners, supermarket staff, anyone working every day, risking their own health to enable us to live, to eat, to survive) are closed.

Friday April 3rd at rush hour on Hollywood Blvd

So how are we all handling it? It’s been a rollercoaster of emotions. Many people all over the world have lost their jobs, small businesses are going under and those who have been able to keep their jobs are likely now doing work from home (WFH), which may have before sounded like a dream, but can in actuality be desperately lonely, especially in these days of social distancing and Shelter In place. It’s particularly hard for those living on their own.

For those with kids, it adds a huge challenge, trying to keep young children amused at home, toddlers with boundless amounts of energy, to older kids whose parents are now having to home school their children. That’s right, parents overnight have had to become manager of their own work headquarters and head teacher of their own schools. All the while trying to explain to their children what on earth is going on whilst still trying to wrap their heads around it themselves.

We normally have stay at home parents, we have working parents, and we have teachers, for a reason. It’s not humanly possible for one or even two parents to achieve all of the above. And with no definitive date of end in sight, anxiety and emotions are going into overdrive. So how are we meant to deal with all of this?

It’s going to be a rough time for all of us as we adjust to our new situation. However there are some coping mechanisms we can undertake to manage expectations, and help deal with our own anxiety and mental health during this time.

Stacy Fan: So many people are experiencing a lot of confusion, loneliness, anxiety and depression during this unprecedented time. Can you help us understand some of the feelings that we might be going through?

Ann Fan: Normally we are very fortunate to have the freedom to travel where we want, whether that’s at home or abroad; we’re able to leave our homes at any time of the day or night for pretty much anything we want to do; and weekends are usually about socializing, going to parties and restaurants to meet with friends and loved-ones. Suddenly that has all been taken away; our lifestyles have had to change almost overnight. It’s a shock and has required a massive adaption. In addition, many people’s long-term plans of what they were going to do or achieve this year have had to be cancelled or re-arranged. Examples are weddings, or a long-planned and looked forward to holiday, or celebrating a milestone birthday or anniversary with friends and family. When these are unable to go ahead this can leave feelings of extreme disappointment, which at worst can lead to feelings of depression. A knock on from this are the potential financial implications, and the very real possibility that people may not be able to keep their jobs because businesses are being affected so badly, leading to anxiety and depression.

SF: What are some of the things we can do each day to bring ourselves a sense of normality and to keep ourselves motivated during this time?

AF: Having a routine is important. If you’re working from home this is probably easier because you know what you’re required to do during the day. However, if you’re at home with no work it can lead to a sense of the day being pointless and each day like ground hog day. The first thing that’s important is to get dressed! Don’t sit around in your pyjamas, but put on some comfortable day clothes. Try to keep up your normal self-care routine, such as showering and washing your hair, putting make-up on. These are all important for our sense of self-worth. Have a list of what you want to achieve that day – that closet you’ve been meaning for months to tidy, now’s your opportunity! If you’re able to go out for a walk, do so. Perhaps you can have a regular time-slot where you FaceTime with family. I have heard where people are taking part in on-line quizzes and games and arranging coffee mornings or cocktail evenings shared over the net. If you’re a couple who normally have a regular “date night”, continue to have these, such as cooking a special meal, having some wine and candlelight. Or having a regular movie night. If as a couple you don’t usually do these things, now might be a good time to introduce them! If your finances allow, an occasional on-line purchase of a new item of clothing or jewelery can lift the spirits. And don’t watch too much of the news about what’s going on – stay informed but don’t become over-saturated and over-whelmed by it.

Try to keep up your normal self-care routine, such as showering and washing your hair, putting make-up on. These are all important for our sense of self-worth.

SF: What advice do you have for anyone experiencing anxiety during this time? Thinking about what is going on around us universally can be all consuming, how can we try and manage it?

AF: It’s important to remember that anxiety is a normal part of life – most of us experience it at some level for numerous reasons. Anxiety can cause a number of physical reactions such as increased heart rate, shortness of breath, sweating and trembling. This in turn can lead to the individual becoming even more anxious, perhaps even having a panic attack, when people often think they’re having a heart attack. If you’re experiencing physical symptoms, try and control your breathing so you’re not over-breathing, which leads to feeling faint. You can also try “Progressive muscle relaxation”. If your thoughts are really anxious thoughts, a basic cognitive behavioural therapy (CBT) technique is to do some “thought challenging”. This involves identifying what your triggers are for the anxious (or unhelpful) thoughts, what the specific thought is and then find a more balanced, (helpful) thought to counteract it. In the current situation a typical thought might be “I’m going to catch the virus, get sick, and have to go to hospital”. A more helpful, balanced thought might be “I’m at home, I’m doing everything I have been asked in order to keep safe, I’m keeping myself and my family healthy”.

SF: For those who already suffer from OCD (obsessive compulsive disorder), this could be an unbearably challenging time. What tips can you give those struggling to help control it and keep it in check?

AF: This is a particularly challenging time for people who have OCD particularly if it’s regarding germs and contamination fears. Similarly for people with health anxiety, who may be experiencing heightened worry about their health because of the fear of catching the virus. As OCD and health anxiety are both an anxiety disorder, some simple self- help procedures for mild OCD and health anxiety would again be using some of the thought challenging techniques detailed above. Some examples of questions you can ask yourself to help allay your anxiety are: “Is there any evidence for this thought?; is there any evidence against it?; what would I say to a friend who had this thought?; what would a friend say to me about it?; how can I test this thought to show that it’s false”. There are a number of good cognitive behavioural books that can help with both OCD and health anxiety. People who have OCD or health anxiety which is so severe that it affects their normal quality of life should seek the help of a therapist.

SF: For those who are struggling with social distancing and battling loneliness and / or depression, what can they do to help themselves during this time?

AF: We’re very fortunate to have access to technology which enables us to stay in touch with each other. Use this to its full advantage. Enlist a good friend to be your “buddy” at this time so that you can support each other by phoning or using other methods to tell each other how you’re feeling that day. It’s important to remember when you’re having a bad day, that tomorrow is another day when things may look and feel brighter. Reconnect with people you may have lost touch with; or reach out to your neighbour to see if you can help out with practical things, such as shopping, or just simply to check in on how they are. Altruism is great for giving a sense of purpose and well-being.

Perhaps you can have a regular time-slot where you FaceTime with family. I have heard where people are taking part in on-line quizzes and games and arranging coffee mornings or cocktail evenings shared over the net.

SF: Do you have any advice to help us not become overwhelmed with the situation and worrying about the future as we overcome this pandemic?

AF: None of us ever know what the future holds, even in normal times. Worrying about the future never solves anything, however planning for the future can be helpful. Have you had to cancel plans? - then think of how or when you might be able to put these plans in place again. Plan what activities you’re going to do when you’re allowed social interaction again so you’ve got something to look forward to. Communication is always helpful, talk about your feelings with your partner, friend, mother, father. Everyone is in this together so we can support each other to get through it.

SF: Are there any relaxation exercise we can do to help anxiety during this time?

AF: Many people find Mindfulness to be very helpful. There’s a lot of information on websites about it. There’s a particular exercise called “Leaves on a Stream” (which you can find on-line) which helps relax the mind and dissipates worry. Yoga is also good for physical and mental relaxation. There are lots of apps that can help. There’s one called “Calm” which a lot of people find helpful for relaxation.

The Calm App can be a helpful resource.

SF: For couples who are perhaps only used to seeing each other in the morning and for a few hours at night, switching to seeing them almost 24/7 can be an adjustment, even if the relationship or marriage is good! Do you have any tips for couples to help them keep boundaries?

AF: Having “me time” (time to yourself) is always important, but never more so when you might be staying at home with the same people for an unprecedented amount of time. If you’re able to, have time alone in a separate room. You could listen to music, read, make a phone call to a friend. If the government rules are that you’re allowed out for exercise, perhaps take walks separately. If you and your partner have children, divide the day up so that each of you have time away from looking after the children so you can pursue a solitary pursuit or interest, such as the ones listed above, so that you will feel refreshed to go back and able to either join in the fun as a family or take over the care of children so your partner can have their alone time.

SF: I think one of the most difficult things for people is that we haven’t been given an end date for our current situation. What are some of the things we can do daily to help with anxiety and that lack of knowing when this might end?

AF: With any form of anxiety or depression it is about taking it one day at a time. What you need to remind yourself is that you are being asked to stay at home to keep yourselves and others safe from this terrible disease. If you are able to look on this enforced period at home as an opportunity rather than a problem it will help. For example, have you always wanted to learn a foreign language, learn about a particular subject, learn a new skill, read that stack of books you’ve been meaning to get through? Now’s your opportunity! We’re very fortunate that we have the technology which gives us ways of keeping in touch and learning on-line.

If you’re able to, have time alone in a separate room. You could listen to music, read, make a phone call to a friend.

SF: Do you have any tips to help those who are struggling to sleep?

AF: There are a number of things that can help. 1. If you are having difficulty sleeping it’s often because when we go to bed and it’s quiet our mind starts thinking about all the things that have happened during the day, what we’ve got to do the next day, what bills we have to pay, even what we’re going to cook the next day! What I recommend to my patients who find they worry when they get to bed is to set aside some “worry time” during the day. This involves sitting calmly and listing the things that are troubling them or occupying their mind. Then write possible solutions and how they are going to be achieved. Don’t do this too close to bed-time or it may still be on your mind. 2. One thing that has been proven to keep the mind active when we go to bed is if we’ve had “screen time” just before we settle down. This activates the mind and brain, so put your phone/laptop etc. away at least half an hour before going to bed. And make sure that you don’t check your phone during the night. 3. One other tip is to do something that you find particularly relaxing such as meditation, listening to calming music or having a relaxing bath. 4. Something that is also well known to keep people awake is caffeine so avoid stimulants before bed. Some people find that chamomile tea is relaxing, or the smell of lavender on the pillow.

SF: What are some of the services (in the UK) available for those who might be struggling at the moment?

AF: One of the good things to come out of this current situation is how people have stepped up to help each other. The community spirit in most areas has been remarkable. For example, the UK government appealed for 250,000 volunteers to come forward to help the NHS (National Health Service). That target was met within 24 hours and a total of 750,000 have now volunteered to help with such things as delivering medicines and driving people to appointments. Psychological services, such as the one I work in and which is part of the NHS, have been asked to adjust the way we are working, so we are doing shift work in order to answer help-lines and carry out assessments for people who phone-in feeling anxious and/or depressed. Business which have had to temporarily close have diversified and are helping with such things as preparing and delivering food for free. In the community individuals have also got together to form groups to collect and deliver food and essentials to the elderly or vulnerable. For those struggling with mental health there are the usual phone services, such as The Samaritans. The list is endless and I feel very proud of how we are coping with this. My sincerest wish is that when we are allowed to get back to our normal way of life, that ‘normal’ will be different – I hope that we are all able to appreciate what we have and each other more. Stay safe everyone!

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