It’s easy to look at Kate Bosworth and think you know what she’s about.
With her super-striking two-tone eyes, finely drawn features, and fashion industry–approved style choices, it’s not a stretch to assume she’s all glamour and no grit. But underneath the classic Hollywood exterior lives a woman of absolute resolve and quiet confidence in her myriad skills, which lately have gone beyond her well-trod territory of acting and fashion collaborations into a new world of executive producing and financing films.
Before you jump to any conclusions, Bosworth hasn’t forsaken her on-camera and style projects—perish the thought! She’s merely rounding out her portfolio with a new role in the forthcoming National Geographic miniseries The Long Road Home—premiering November 7—and taking on new challenges with her production company, which focuses on thoughtful, meaningful work that’s anything but fluff fare. For example, her upcoming film Nona—debuting September 10, which she made with director/writer/co-producer/husband Michael Polish, focuses on sex trafficking, while another upcoming docuseries Bosworth is working on explores social media’s effect on teenagers.
For those of you who still think of Bosworth as strong and scrappy surfer Anne Marie Chadwick of Blue Crush fame, or who appreciatively follow her Coachella, Met Gala, and red carpet fashion choices, her path into executive producing might seem surprising, but it’s actually a natural fit. “I literally came out of the womb like Superman and was so strong-willed that the doctor delivering me assumed I was a boy,” she says. “I’ve always been very determined, I’m not a very good backseat driver, and I’ve had this desire to produce since I started, really, for 14 years.”
Of course, like many of us, Bosworth faced her share of challenges. Though the desire to be a producer was there early on, it took some time before she felt like she could actually start contributing. “I could see things I could help with, yet it wasn’t my position to do anything, and it was slightly frustrating because I’m not good at just staying quiet,” she says. Her path to production started in her early 20s when she optioned Catherine Hanrahan’s book Lost Girls and Love Hotels. “I was just obsessed with getting it made, and had quite a few years meeting important people and learning and asking lots of questions, basically just educating myself on the process of producing something from concept to delivery.” And even though that project never came to fruition, Bosworth doesn’t count it as a failure, due to how much she learned along the way.
That knowledge, combined with years of working on sets, finally found a place to thrive when Bosworth began collaborating with her husband, writer-director Michael Polish, and they started their own production company. “Producing was a quick fit for me; I think it’s just the way my brain compartmentalizes things,” she says. “I felt like I was born to fill that role, almost more so than acting, in a way, and that’s a wonderful realization because I love being in front of a camera. But I thrive more when I’m able to be a partner in some way. I’m a very solution-oriented person and a very results-driven person, and I will not stop until I accomplish my goal. I think part of my DNA is wanting to make something as great as it can be—I was the overachieving academic in school too—so now, coming to this [producing] with a certain amount of confidence and experience, I’m just excited to push it.”
That confidence in articulating and actualizing her vision is apparent outside of film production as well. For this shoot, for example, Bosworth was incredibly involved in every aspect, from the photographer to the styling to the wigs, and came to set completely prepared. “I was thinking about these images that Steven Meisel produced in the late ’90s and thought, if we’re playing in this oversize, kind of ’90s Calvin world and playing with androgyny and the boyishness of the cuts and silhouettes, maybe it would be interesting to look at pushing it even more so. And I didn’t know if it would work, but all you can do is look at something and say, ‘Let’s consider this.’”
“I think vulnerability really cements relationships.”- KATE BOSWORTH
The night before our shoot, there was a snafu with the original hairstylist, but Bosworth’s inner producer took over, and she quickly saved the day by suggesting Dennis Gots. “We hadn’t worked together before, but it’s important for me to be educated on everyone’s strengths, and I knew he was a genius with wigs,” she says. “So I just called him up the night before and said, ‘Do you have any wigs by any chance?’ and he had some crazy ones he’d chopped up for a men’s show, and I said perfect! On set, the concept started to develop into what it was, which is literally the idea of stepping into character in a very fashion-forward way, which I thought was interesting. The wig cap was another interesting transition into a character, and I thought it would be fun to play that way.”
Experimenting on set reminded Bosworth anew of why she loves fashion so much, and specifically why she loves American brands. “I feel very indebted to Anna Wintour for my Vogue cover [in February 2008]. It was called “Seven Dates With Kate” and featured all of these up-and-coming designers at the time—the girls from Rodarte, the guys from Proenza Schouler—and we all met as these very freshman-type artists,” she says. “We were all intimidated to be shooting for Vogue, and I think vulnerability really cements relationships.” Nearly a decade later, she still follows all the designers’ careers closely and loves that Rodarte and Proenza Schouler presented their collections in Paris. “I thought those two shows were amazing, and I’m also a huge Raf fan [Simons, creative director of Calvin Klein], and I think Ellery is doing some amazing work right now.”
This informed certainty—about her style, the image she’s projecting, the way a shoot will turn out—is incredibly appealing because it’s indicative of the fact that Bosworth really takes an educated, purposeful approach to everything. She understands that different situations call for different looks: “With business, I tend to keep it quite classic and wear a lot of black because I’d rather be the microphone than what I’m wearing. In terms of the red carpet, a lot of it is informed by what I’m representing and has to do with the environment—like in Paris, I’m excited to wear something that might feel more fashion forward than in Los Angeles.” But she’s learned to listen to her instincts: “I will not walk out the door anymore if I feel slightly uncomfortable.”
Part of this self-awareness simply comes with more experience and age. “My stepdaughter is just entering her 20s, and I’m reminded of how angst-ridden and horrifying that decade is,” Bosworth says. “It’s a lot of fun but also just riddled with anxiety. I don’t have many regrets, but I do feel like I learned a lot from that decade and have implemented those lessons into my 30s.” One key takeaway, she notes, is the importance of seeking counsel and advice from women with more experience.
To that point, Bosworth’s work and research in prep for Nona led her to Kay Buck, the CEO of the Coalition to Abolish Slavery & Trafficking, while her relationship with Diane von Furstenberg resulted in involvement with Vital Voices, a nonprofit focused on women’s economic empowerment and founded by Hillary Clinton and Madeleine Albright in 1997. Sometimes the connections are simply coincidental. For example, a chance encounter at the Vanity Fair Oscar Party yielded a meet-cute with Facebook COO Sheryl Sandberg. “You never know who you’re going to bump into in the bathroom at that party, and a few years ago, I basically attacked Sheryl when I was washing my hands,” Bosworth recalls. “I just said, ‘I think you’re so amazing, and I’d love to know you.’” It turns out Sandberg’s kids love Blue Crush, and Bosworth was delighted by the connection. “I have so much love for that movie—talk about empowerment!—and I was so happy that was a commonality. We kept in touch after meeting, and I think it’s a great example of putting yourself out there and saying, ‘I appreciate you and what you’re doing.’”
As someone who came up in the industry without a mentor, Bosworth truly understands the importance of having sounding boards and champions. “I’m much more comfortable finding mentors in my 30s than I was in my 20s because I understand the value of it,” she says. “I felt so shy to do that when I was younger. Part of it was I didn’t want to bother them, and part of it was I was determined that I didn’t need help—I had my blinders on! But now I know that I need help, so I’m aligning myself with women who I feel are doing extraordinary things in the world and trying to be of service to them.”
In short, Bosworth is definitely in the driver’s seat, controlling her own destiny in a way that’s admirable, powerful, and noteworthy—no wonder she’s producing. “My experience has started to align with my goals and desires in a different way,” she says. “And with that balance comes more confidence to take the reins.” One thing’s for sure: With Bosworth in charge, we can’t wait to see what comes next.
Red! Feathers! Patchwork! The list of trends worth investing in this fall seems endless (just take a look at our Fall issue), but fashion stylist and consultant Shiona Turini says you don’t have to max out your credit card to give your wardrobe a new-season update. For this installment of Styled By, we followed Turini—decked out in fall favorites from Saks, of course—around NYC to get a grasp on what personal style really looks like.
Read on to find out how to choose which trends to invest in, why great tailoring can make such a difference, and what it means to stay true to your personal style.
Turini’s Instagram feed screams color. “If I had to describe my style in three words, I’ll borrow from TLC and say ‘crazy, sexy, cool,’” Turini tells us. “Crazy because I’m experimental, sexy because I don’t follow trends, and cool because I never want to feel like I’m overthinking things. I have to stay true to myself.”
And if there’s anyone who could teach us a thing or two about staying true to ourselves, sartorially speaking, it’s this Bermuda-born tour de force. She has one of those distinct, unmistakable personal styles and can usually be spotted in her go-to uniform: a crop top paired with high-rise bottoms and a cool of-the-moment jacket (when the weather calls for it).
When it comes to defining your personal style, Turini recommends asking yourself the following questions: What do I feel happy in? What do I feel the most myself in? “Be okay with it, and embrace it,” Turini says. “Then create your uniform around that feeling.” But keep in mind that curating your personal style doesn’t mean you can’t experiment—Turini tells us she loves playing with different silhouettes and colors.
Here’s her secret: Make each piece in your wardrobe feel like it’s been customized for you—or actually get it customized. “I tailor everything,” she says. “The best outfits (no matter the trends) will be the ones that are tailored for your body. I even get my T-shirts tailored. I’m curvy, and I embrace those curves, but a lot of brands don’t. If it doesn’t fit me the way I want it to, I’m going to make it work.”
“I never want to feel like I’m overthinking things. I have to stay true to myself.”— SHIONA TURINI
When it comes to trends, don’t feel pressured to try them all—some may not go with your established wardrobe. Instead, follow Turini’s lead: “Find the element of a trend that fits into your uniform. For example, I like hemmed shapes like a cropped jacket, so I’ll get one in fall’s top color.” That way you can nod to the season’s biggest trends and still feel like yourself.
We’re well aware of the fashion world’s unrelenting French-girl fascination, but that doesn’t mean we’re any less on board. At the forefront of the obsession is Jeanne Damas. Here, the designer and model shares her quintessential Parisian shopping list.
“Gucci has some of the best power bags this season. The updated bamboo handle mixed in with the embroidery-and-leather combination is a modern take on this iconic classic.”— Roopal Patel, SVP, Fashion Director for Saks Fifth Avenue
“If you love the convenience of Fitbits but not the sporty vibe, look no further. No one will know you’re secretly keeping track of your fitness beneath this sleek bracelet.”— Erin Fitzpatrick, News Editor
Dope’s breakout star is taking a different step into the spotlight with all-new roles as an actor and a designer. What could possibly be next? Saving the world (well, superhero movies, but that counts).
Her portrayal of Cassandra “Diggy” Andrews in 2015’s Dope placed Kiersey Clemons on the map in a major way. But right now is shaping up to be the actress’s biggest moment yet—look no further for proof than the front rows of fashion weeks around the world, the red carpet (and subsequent best dressed lists), or this past summer’s The Only Living Boy in New York. At this point, there’s no stopping the ambitious 23-year-old. Be it future movie roles—specifically as Sophia in this month’s Flatliners and Iris West in 2020’s The Flash—the debut of her first shoe line, By Kiers, at Zappos in October, or her limitless approach to planning her future, Clemons is leaning on her own intuition to set her career ablaze from here on out. Our own gut tells us she’s about to strike it big.
“I won’t tell the story of something I don’t know anything about.”— Kiersey Clemons
“The stories I’m the best at telling, they just come to me at the time. Sometimes you want to tell a story, and you look back and you’re like, ‘I’m glad I didn’t, because it was an underdeveloped story.’ I won’t tell the story of something I don’t know anything about.”
“From everyone who I’ve worked with, I’ve walked away with something. When I was filming Dope, I picked up from the boys—Tony [Revolori] and Shameik [Moore]—a lot because that had to do with how your friends create who you are. We all bounced off of each other. I really enjoyed The Only Living Boy in New York because it was interesting to be in a movie where I wasn’t with my peers. Everyone was older than me, and I was learning from them.”
“When we get dressed in the morning, it’s another way of telling people who you are, showing who you are, and that’s cool. Anything that can alter the way that you feel about yourself and make you feel grander or even smaller, that’s something that you should be passionate about—you should put energy and enjoyment into it. It’s not fun to wear clothes that don’t make you feel good.”
“My mom has always had amazing taste and been an on-the-go type of woman. She works, so she’s always ready to get shit done but at the same time could meet you at the bar after. That’s so cool.”
“My mom taught me the pieces that have been worn the most are what look the best on you—they look like a part of your body. So I made sure every shoe style in the collection had comfort, quality, and functionality. It’s equally as important that we create quality goods that are classic and can be worn by generations. By Kiers isn’t trendy—we are timeless.”
“I don’t know. I could end up a fashion designer. I could end up a chef. You never know. I just want to be known for always sharing whatever I am doing, whether that’s through writing or something visual or music. I’m always going to be acting and telling stories all the time. That’s what I do. I tell stories.”
For Kate Young, it’s all about pantsuits for the new season. As the stylist responsible for so many sought-after Hollywood looks, she knows a thing or two about trends—and naturally, we’re dying to know what she’s shopping for fall. We asked Young to share her new-season essentials, and we can’t wait to get our hands on all of it. Shop her favorites from Saks Fifth Avenue here.
When Linda Rodin tells us about all the items she’s misplaced over the years, it’s hard not to get caught up imagining such long-lost treasures in the wild.
But the here and now is arguably even more exciting, and as we sit on the blue velvet couch in the beauty entrepreneur’s Chelsea apartment, surrounded by more than 30 potted plants of all shapes and sizes (some dying, Rodin admits), tchotchkes galore, and her beloved poodle—that’d be Winky—she lets us in on some specifics: Among her favorite past clothes are a Missoni skirt suit and “a wonderful Pucci knockoff” dress, choices befitting someone who was once a model, stylist, and fashion editor. But between her many moves and travels, they’re forever missing in action—probably “in a landfill somewhere,” she postulates.
Rodin’s home suggests she’s an eclectic collector, but there’s one aspect of her personality that’s much more streamlined, curated, and consistent in an inspiring way: her wardrobe. The 69-year-old is most recognizable by her bright white hair, signature oversize sunglasses (which she keeps on as we chat), and dedication to jeans. “I love any denim,” she says of her collection that includes moderns designs by Rachel Comey, Ellery, and Comme des Garçons. “I’ll buy it in any iteration, but my mainstay is always Levi’s.”
Suffice to say, Rodin’s not your average sexagenarian—whatever that means. In the last decade, she has become street style star, catapulted her Olio Lusso line to cult status, and gotten her first (and second) tattoos.
“Yeah, I’ve never done that,” she says about dressing for your age. “Of course when you’re a teenager, you dress in a certain way that’s age-appropriate. Luckily, my silhouette has stayed the same, so I didn’t have to adapt to a different body shape. Unless I’m dog walking in my pajamas, I look the same all the time.”
Another thing Rodin doesn’t do? Power outfits. “If I feel physically comfortable—my shoes aren’t too high or my shirt isn’t popping open—I feel confident,” she says. Though her quirky-classic aesthetic is undeniably cool, with obvious nods to the ’60s looks she once loved (“You know, the Twiggy type,” she says), it’s not a vehicle to empower. It’s a reflection of a woman who knows herself. “If I look in the mirror and I feel Linda, I’m fine.”
Maybe that’s the best part of having nearly seven decades under your belt(ed Levi’s): You’ve spent a lot more time with yourself and you know what’s not a fit—be it too-tight dresses or, well, societal norms. “I’ve never premeditated my life. I’ve never thought, I’ll finish college, I’ll get married, I’ll have three kids, I’ll move to California… ”
“If I look in the mirror and I feel Linda, I’m fine.”- LINDA RODIN
“I never had any idea what I was going to do from one thing to the next,” Rodin says, referencing the best piece of advice she’s given recently: “One day at a time.”
This step-by-step approach has led her to major success, recognition, a sense of self, and, yep, one heck of a wardrobe. “Sometimes you look at the bigger picture and you get overwhelmed. One step informs the next. I think that’s the best advice I could give to anybody.” With that in mind, we’re excited to see where she’s heading.
Model, Pat McGrath muse, diversity advocate—Paloma Elsesser is the new-school beauty icon we’ve all been waiting for. This season, she demonstrates just how versatile fall’s biggest beauty trend—red—can be.
“It was quite early when I realized I was different, and there’s not much I can change about it. [I had to] pave a different road for myself.”— Paloma Elsesser
“I am trying to be the girl I didn’t have growing up. There’s someone out there who relies on me, and I don’t want to let her down.”— Paloma ElsesserRead the full story on Byrdie
- Styling by Carolina Orrico
- Makeup by Ralph Siciliano
- Hairstyling by Takayoshi Tsukisawa
- Paloma Elsesser with Muse Management