Ways to break the fashion ‘rules’ and still feel confident

We’ve all heard of old-school fashion “rules” to never break — like never wearing white after labor dayor saving the shimmery items in your closet for eveningwear.

But TODAY Style’s rules are a bit different. We believe that if you love an item, you should wear it!

In honor of “Wear What You Want” week, the TODAY Style Squad gave us their best tips for breaking the rules and making your favorite items work for anything.

Shiny items are only for fancy, nighttime affairs.

You don’t need to save your favorite glitzy items for a night out on the town. Pair one sparkly piece with a more traditional outfit to create a perfectly appropriate daytime look. Bobbie Thomas showed us her tips for adding a touch of glam at any time of day.


A metallic pleated skirt and a trendy bomber make for an eye-catching outfit that’s sure to get noticed.

Embroidered Bomber Jacket, $145, Macy’s


Metallic Pleated Skirt, $98, Ann Taylor

Ann Taylor

Gold Midi Skirt, $48, Lulus


Slip-On Sneakers, $69, Macy’s


A business-like blazer and menswear-inspired loafers get a big dose of fun with this sparkly skinny scarf and some bejeweled necklaces. Sometimes, a touch of shimmer is all you need!

Oversized Plaid Blazer, $168, Express


Metal Embellished Slide Loafers, $49, Express


Sequin Long Skinny Scarf, $58, Bloomingdale’s


Mixed Coin Pendant Necklace, $35, Express


Myth #2: Suiting pieces always need to match.

The status quo maintains that blazers and slacks should always match, but the truth is that suiting separates don’t need to be the same color or fabric to look polished. Lilliana Vazquez gave us her top tips for mixing and matching different pieces.


This tweed blazer is a timeless investment piece that you’ll wear for decades to come. When worn with silk pants and a tie-bow blouse, you’ll look classic and trendy at the same time.

Bow Blouse, $25, Target


Tweed Jacket, $190, Karl Lagerfeld

Karl Lagerfeld

Silk Trousers, $145, Aritzia


Don’t be afraid to layer it up! Three preppy pieces — a collared shirt, cable-knit sweater and structured blazer — look fresh and cool when worn together.

White-Collared Shirt, $70, J.Crew


Wilfred Sweater, $165, Aritzia


Blazer, $148, Banana Republic

Banana Republic

Geometric Print Skirt, $50, Zara


Myth #3: You can’t wear white after Labor Day.

You can still wear your favorite white items well into the cooler season — as long as you add a fall twist. Jill Martin showed us some of her favorite ways to rock white after summer is long gone.


Love your white jeans? There’s no need to put them in storage just yet! Thrown on an oversized sweater and some suede accessories — like thigh-high boots and a bag — and you’ll look autumn-ready in no time.

Oversized Textured Sweater, $50, Zara


Mid-rise Jeans, $40, Zara


High Boots, $30, H&M


Suede Handbag, $80, H&M


A classic white button-down is the perfect item to wear all year-round. We love this school-inspired look for fall that works when you pair the white collared shirt with a mini skirt and clutch.

Fitted Shirt, $20, H&M


Sequin Mini Skirt, $50, Zara


Leather Clutch, $7, Forever 21

Serious times call for un-serious fashion at Dolce and Gabbana

Lined up like cavalry in the Milanese studio where Stefano Gabbana and Domenico Dolce do all their fittings on the models in the days running up to this afternoon’s show, there must have been at least 100 different bags. Bags shaped like egg cartons (complete with plastic eggs, some with the shells half off), bags shaped like chocolate cakes, bags with Union Jacks or Tricolore flags on them, bags shaped and sized like cool-boxes. “Handy for the beach,” says Stefano Gabbana, hooking it over his elbow. And then there are their raffia fringed sunglasses and their earrings shaped like cakes.

Humour is proving a huge seller for Dolce e Gabbana. Their high net-worth clients especially, seem to appreciate the jokes. They sat there in the audience wearing flashing-light Dolce crowns and chiffon dresses printed with food. No one wants to look too po-faced about wealth these days; not even their own.

Dolce e Gabbana came relatively late to It bags. But now that they’re 50 per cent plus of their business, the label has become a powerhouse of whimsical accessories: from stretch lace ankle boots to tapestried mules and toweling-turban headwear appliqued with roses, this show kept on giving. Perhaps the most newsworthy piece however, was a humble pair of black knee high pop socks worn under a black crocheted-lace dress. Pop socks have made stealth appearances on other catwalks too. This may be confirmation of the rehabilitation.

In a week of Italian restropsectives (Donatella Versace’s show on Friday was a tribute to her brother Gianni, who was killed 20 years ago), Dolce and Gabbana paid homage to themselves by including fifteen designs from the archives: black, stretchy, curve-hugging: Sophia Loren meets Linda Evangelista. On the body, regardless of size, the dresses hug a woman’s curves as tightly as a tarmac road snaking round the Riviera. Back in a far-flung corner of the studio, I spied a rail of shape-wear dresses in mesh as taut as a trampoline and guaranteed to make anyone who wore it two sizes smaller.

That va-vam-voom black-widow look is still a potent part of Dolce and Gabbana branding. But in the intervening years an increasingly extravagant approach has taken over. Beading layered over embroideries layered over lace and brocade. “It’s a bit Scott Crolla,” said Gabbana, referring to the 1980s English label that brought C18th dandyism to a new generation.  The Red Queen, in Tim Burton’s adaptation of Lewis Carroll’s Through The Looking Glass was another inspiration, depicted on glittering sequined dresses and cat-suits, buttons and bags. There was a plethora of other joyful prints: oversized garden–peas, wheatsheafs, baby chicks. They popped, spiralled and stepped their way across fresh looking cotton ball-gowns and elegantly relaxed pussy-bow chiffon columns: 106 outfits in all. To put this in context, Marni, which showed earlier in the day mustered a meagre 21. Dolce and Gabbana are far from alone among their Milanese peers in trying to bring levity to luxury. It seems serious times calls for un-serious fashion.

Britain according to Burberry: Christopher Bailey on Martin Parr, Ken Russell, and sheepskin car coats

“The number one question I get asked,” says Burberry’s Christopher Bailey, “whether I’m on the street or in one of our shops or on social media, isn’t to do with the business side of the company, it’s what’s the inspiration behind our current collection? These are things people want to know, and this exhibition is an attempt to let them in on the inspirations behind what we do.”

The company’s 46-year-old former CEO – who demoted himself to merely Chief Creative Officer last year – and who is widely credited with turning the iconic, but once ailing British brand around, is sitting in the Old Sessions House, a Georgian former court house on London’s Clerkenwell Green.

Last Saturday night, the building’s gracious interiors, all with the currently trendy half-gutted look, provided the setting for Burberry’s catwalk show for London Fashion Week. Now the garments, a crankily eclectic mix of rubber raincoats, knitted tank-tops, tartan and platform boots, have been displayed through the building.

Alongside, hang the images that inspired them: classic British documentary photography such as Charlie Phillips’s grittily tender images of run-down Sixties Notting Hill, Dafydd Jones’s wry scenes of society swells at play and, of course, pictorial essays in social embarrassment by master of the genre, Martin Parr.

Here We Are is a show that embodies an increasingly important phenomenon in contemporary culture: the suddenly ubiquitous creative rapprochement between art and fashion. Retail outlets littering their display stands with art books as aspirational style items, for instance, or designers showcasing their own works beside the art that inspired them. The voguish young designer J.W. Anderson had an acclaimed show at Hepworth Wakefield earlier this year, and Burberry staged a pop-up Henry Moore exhibition in the old Foyles building in Charing Cross Road in March.

If the intricacies of who curates which exhibitions might be considered of interest primarily to art insiders, Bailey’s Henry Moore show seemed to offer a genuinely new approach to the consumption of art. Moore’s monumental bronzes, their references to the female form and the Yorkshire landscape looming over rows of mannequins bearing Burberry’s Moore-inspired garments had queues stretching round the block (30,000 people saw the show in six days). The experience – not quite gallery, not quite shop – seemed to blur the age-old distinctions between art and commerce, high art and popular culture.

What actually was Bailey trying to do? “Fashion has always been inspired and guided by other art forms, whether its art, film, theatre or music. In the past the references and ideas behind a collection would be left in the design studio. But now people receive information through so many channels, they’re bombarded by so many things, and it’s made them more questioning. Rather than simply taking the appearance of a fashion collection as a given, they want to get under the skin of it, to see what lies behind it.”

At the Foyles show, which was inspired – in good measure – by Bailey’s upbringing in Moore’s native industrial Yorkshire, you felt you could see that process in action: watching the kind of young people you wouldn’t expect to see in an art gallery enthusiastically snapping Moore’s reclining figures on their mobile phones or looking at displays explaining the ways these sculptures fed into different aspects of Bailey’s glamorous garments: texture, shape, silhouette.

Yet surely such projects, for all their apparent philanthropic impact, are, at base, a cool and very clever marketing device? Bailey sighs. Boyishly amiable and disarmingly down to earth, he never quite lets go of his role as company ambassador. “People think of the fashion industry as this commercial juggernaut of fluffiness, and I can’t deny that there’s a commercial aspect to everything we do. But that’s only part of the story. In these exhibitions we’re celebrating the coming together of different creative worlds in a way that isn’t transactional: we aren’t charging people to come in, we aren’t selling anything – though they can buy things from our shops, of course. To see people from many different walks of life coming together at these events is very inspiring. And if people from the art world are getting excited by that,” – he casts a glance in my direction – “then that surely is the point.”

The sources for Bailey’s current, defiantly quirky collection, which juxtaposes Prince of Wales-check baggy trousers with guardsman’s uniforms, sheepskin car-coats and transparent flowery dresses, are all around the gallery walls: from Janette Beckman’s fabulous portrait of the Specials’ organist Jerry Dammers to Ken Russell’s essay on the rituals of Whitehall’s horse guards.

Such images are part of an earthily humane photographic tradition that celebrates British character, with its unique melange of the tribal and the rampantly individualistic.It’s a world where, in Bailey’s interpretation, classic mods, Coronation Street, Royal Ascot and the Bay City Rollers all merge into an idiosyncratic whole.

For Bailey, a carpenter’s son from Halifax, who trained at the Royal College of Art before embarking on his meteoric rise through the creative and business sides of the fashion industry, this documentary tradition strikes a deep personal chord. “The two things that got me out of my working class Yorkshire world were music and imagery: photographs, seen predominantly in magazines, not just fashion magazines like the Face, but some of the Sunday supplements, which used to do incredible essays in social portraiture. I’ve always gravitated back to that and used it in my designs.

“Like a lot of people I’m trying to work out what it means to be British today, at a time when we’re going through Brexit and when, from a personal point of view, I’ve become a fairly new father to two little girls. Britain we know is a patchwork of tribes and traditions and worlds, and I wanted to dig a bit deeper into that.”But isn’t there something a touch insulting – not to say tasteless – in trying to incorporate an image of, say, whippet racing in Doncaster into Burberry’s luxury world? “I really don’t see it like that. Burberry is a luxury brand, I won’t deny that. We make things in a way that gives them a particular price tag. We fly the flag for British culture all over the world. But for me it’s not about exclusivity. I’m not saying everyone can afford to buy one of our beautiful trench coats. But I don’t see what we do as only speaking to three per cent of society. [Burberry is] part of society, whether it’s through our apprenticeships, our sponsorship of young musicians or putting on a photography exhibition.”

So are exhibitions like his changing the way we view art? Will we soon be in a cultural landscape like Japan, where it would be considered perfectly normal to see, say, a Marcel Duchamp exhibition in a department store? Or is this new approach just a quirky add-on to the existing system?

“I think the whole retail landscape will change dramatically over the next ten years, as I suspect it will with galleries and museums and all the ways we explore and consume the different art forms. We’ll see environments where there’ll be a meeting of art with photography, with fashion, with food, with technology. What we’re doing here is supposed to be a little example of that.”

Here We Are runs at Old Sessions House, London EC1, until Oct 1.


The meaning behind Melania Trump’s power-shouldered fuchsia look at the UN

This week has been a busy one at the UN in New York for reasons, obviously, entirely unrelated to fashion. Donald Trump has threatened to obliterate North Korea, Theresa May has had an awkward encounter with Boris Johnson in front of the world’s cameras and Malala has been whiling away the last days before she starts university meeting with world leaders to encourage them to prioritise education, to name but three of the happenings.

Yet, style-wise, the UN has become a strangely important barometer for the current state of power dressing. You only have to look at the carefully calibrated wardrobe which Amal Clooney put together forher appearences there last year (think: unmissably vibrant Bottega Veneta tailoring and Gucci shift dresses) to see that women who love fashion and understand its semantic possibilities pay particular attention to the UN as a platform.

 Last night, Melania Trump gave her first address to a UN luncheon dressed, as one member of The Telegraph fashion team observed, like a ‘Barbie Michelin man’. It could not have been a brighter, more visible, more ‘HELLO! LOOK AT ME’ look unless she had hired a Mr Blobby suit. In fact, her fuchsia coat dress is by Spanish design house Delpozo which is known for its sculptural, bold designs. She even paired the look with her signature deep tan and matching pink Louboutins.

Earlier in the week, the First Lady had taken a wildly different tact when she sat in on her husband’s confrontational address to the UN wearing one of her subtlest public appearence looks to date- a double-breasted grey trouser suit with a black blouse.

So what does this all mean?

Well in the pink, La Trump was visible, feminine and working the uber-shoulders to take up maximum space, an effect which was only enhanced by the fact that the outfit was mostly photographed from the waist up. It was a big moment for her going it alone- a crucial point- as FLOTUS and she was sure to make a confident splash which also underscored her personal, unashamed love of fashion.

Power connotations were undoubtedly still at play with the tailoring but this was a quieter, more businesslike choice which was perhaps selected to allow the President to take centre stage for his speech and, knowing what he was going to say, keep the spotlight firmly on him- wearing bright pink demi-couture as your husband wields threats of nuclear war would have made the heels-in-a-hurricane, er, storm seem minor by comparison.

Melania talked about kindness and anti-bullying in her pink dress speech, which many have pointed out as ironic given her husband’s Twitter tendencies. But if she’s letting her clothes do some of the talking this week, then it’s clear which outfit, and moment, she wanted us to actually remember.



We have rounded up the key autumn/winter 2017 trends that fashion editors will be wearing this season. Take note – and you’ll look like you’ve just stepped off the front row.

Baker Boy hats

street style trends

Along with the beret, the Baker Boy hat is having something of a moment. Use it to give a fun twist to your day-to-day ensembles.


street style trends

Feathers look set to be one of the biggest trends of autumn/winter 2017 – and there’s no way chicer to tap into the trend than with these Prada heels.

A checked blazer

street style trends

Balenciaga might have started the heritage suit trend but the checked blazer has now taken on a life of its own. Swap your denim for this refreshing outerwear this autumn.

White heels

street style trends

Elegant white heels were definitely the shoe du jour on the New York Fashion Week front rows. From Céline to Tibi, keep it glossy and simple and Colgate white.

Cowboy boots

street style trends

From Calvin Klein to Miu Miu, cowboy boots were a big hit on the catwalk last season and they now seem more wearable than ever before. Choose darker hues to prevent the look feeling overly Western and wear with skirts and dresses rather than jeans.

A high-necked chunky knit

street style trends

An easy and very cosy trend to cash in on this season. Wear chunky polo-neck jumpers with floaty skirts or skinny jeans and statement accessories.

String bags

street style trends

While basket bags are still in favour, the humble string bag is the one to be seen carrying now. The best bit? You can get in on the trend for less than you’d pay for a cup of coffee.


street style trends

If you’re bored of your denim, this is the trend for you. Corduroy was seen all over the catwalks of Prada, Marc Jacobs and Mulberry – and we’ll be wearing ours from head to toe.

A bum bag

street style trends

Whether you style yours across your body, around your waist or sat on your hips, the bum bag is definitely a great way to update your look for the new season.

A slouchy suit

street style trends

Trouser suiting is going nowhere fast and this season, it is all about loose-fitted, slightly oversized shapes. Wear bare now and with polo-necks come winter.

With shoes this cool, back-to-school just got so much better Read more at http://www.marieclaire.co.uk/fashion/shoes-cool-back-school-just-got-much-better-527138#QLj43XX6PA5XmWch.99

Resized_MC_Primigi 17-18-3

Step up their style for the new term…

Where did summer go? It’s already time to pack away the beach gear and get set for a fresh new school year. Dispel the gloom with fun new pencil cases, backpacks, notebooks, and a fresh back-to-school wardrobe. Which has to include – best of all – a pair of shiny, brand new shoes.

Step forward, Primigi: our go-to brand of choice for fashion-forward children’s footwear that’s ideal for term time.

The top Italian fashion brand has specialised in quality and high performance children’s shoes for over forty years. Prepare yourself for serious shoe envy – the timeless designs and on-trend styling will have you wishing they made matching grown-up pairs.

Take these girls’ school shoes… the sleek strap and glossy leather detailing guarantee instant playground status, while the cushioned soles will keep her feet comfy and well protected all day long, whether teamed with long socks or black winter tights.

Boys also have a great range to choose from, like this sturdy pair in soft but durable leather, with loads of cushioning for breaktime footie, plus double-strap detailing for maximum support. We can see Prince George rocking these, teamed with his trademark long socks/shorts combo…
And it’s not just school shoes – Primigi’s fabulous new-season collection includes trainers, boots and sandals, too. Your Mini-Me’s weekend is sorted with these adorable glittery trainers – perfect for parties too.

The children’s shoe experts at Primigi also understand that shoe shopping isn’t always a dream outing. Pre-empt the tantrums by downloading a conversion chart from the Primigi website. That way you can select the right size for your child and browse online rather than schlepping round the shops. Yet another reason in-the-know mums love the brand.

School shoes: officially sorted.


BHS’s former Oxford Street flagship store open its doors again with a little bit of help from Kate Moss

The former BHS Oxford Street store, which became widely associated with the 88-year-old retailer’s tumultuous collapse, is to open its doors again today as Polish fashion chain Reserved launches into the UK.

Of the 160 BHS shops that were shuttered following its demise, around 60pc of the estate remains empty with discount retailers such as B&M Bargains taking on the majority of stores.

Reserved is hoping to breathe new life into the BHS shop and appeal to British shoppers by hiring supermodel Kate Moss and close-friend of former BHS owner Sir Philip Green to front its fashion campaign.

Marek Piechocki, boss of Reserved’s Polish parent company LPP, shrugged off questions that taking the BHS space would be like walking in dead mens’ shoes by saying that the 32,000 square foot Oxford Street store was the type of central location that they had been looking for several years.

Mr Piechocki said that he had “every confidence in the UK retail market and the Oxford Street store in particular”.

The London store is LPP’s first step into the UK market after opening 1,710 shops in 20 countries across central and Eastern Europe. Last week the company recorded PLN 3bn (£650m) in half-year sales.

“I’m realistic about the challenges of the UK market”, he added. “In terms of footfall, there’s still a place for bricks and mortar stores as destination shopping locations and that is what Reserved Oxford Street will be. At the same time, we are a multi channel business and have a U.K.-wide ecommerce offering to complement the in store business.”

Mr Piechocki said that he believed it was “still too early to know for sure” how Brexit would affect the UK market.


Mindy Kaling’s Sparkly LBD Is Her Most Glam Maternity Look Yet

Since announcing she was pregnant with her first child, Mindy Kaling has been serving up a series of fierce maternity looks, from statement sleeves to Valentino LBDs, but Tuesday night’s look might just be her most glam one yet.

For The Mindy Project‘s final premiere party, the mom-to-be sparkled in a glittery caped little black dress that accentuated her changing figure and gave us Superwoman vibes in the process, which is fitting for this actress, producer, and soon-to-be mom. Kaling accessorized with metallic pumps, drop earrings, and matching silver jewelry. She polished off the maternity look with a crimson lip and soft waves.

“‘A little less conversation a little more action’ is how I would describe my look for the final [The Mindy Project] premiere party,” she wrote on Instagram.

While Kaling has not confirmed the identity of the baby’s father, we now know the sex of her first child: The actress is having a girl! Sources confirmed to People this weekend that Kaling has a baby girl on the way.

“It’s so unknown to me,” she told Sunday Today of her pregnancy. “I have a lot of control over a lot of aspects of my life, and this is one where I’m like, ‘Okay, it’s out of my hands,’ which is kind of a fun feeling.”

We’re wishing all the best for this glam mom-to-be.

What It’s Like to Be a Fashion Editor During NYFW

Image result for What It’s Like to Be a Fashion Editor During NYFW

For a few minutes, as models strut down the runway in the season’s most glamorous creations, a fashion show becomes a scene of breathtaking perfection. But those who call Fashion Week work will tell you that the lead-up and aftermath can be chaotic, mundane, and downright absurd. We’ve asked industry pros, from a front-row photographer to a fashion house intern, exactly what the week is like for them.

Here, InStyle’s Fashion News Director Eric Wilson details his typical NYFW day. Come back all week for more insider perspectives.

6 a.m. I read the news first thing every morning, and this one is fairly depressing. Irma, earthquake, Pierre Bergé. I have a feeling this is going to be a very newsy fashion week, and I’m already overwhelmed. I drink a glass of sparkling water with two tablespoons of apple cider vinegar to start the day–good for the digestion and it wakes me up faster than caffeine.

6:45 a.m. I head to the High Line Equinox for Wil Ashley’s 7 a.m. spin class. His pace-based method is a little intense for me right now and I’m feeling sluggish after staying up to write a Calvin Klein review last night, so not sure this is a great idea. Until, that is, he plays an awesomely corny dance remix of “Waving Through a Window” from the Broadway musical Dear Evan Hansen, which I happened to finally see on Tuesday night, and now I’m fully in it. Dear me, this day is going to be great! Sixteen miles and 653 calories later, I say hi to Brian Phillips from Black Frame and wave to the accessories god Philip Crangi on the way out.

RELATED: At Calvin Klein, Raf Simons Writes His Own American Horror Story

8:30 a.m. Normally I drink a protein shake for breakfast but today I am craving a bacon, egg, and cheese on a roll with hot sauce, and I earned those carbs, although I question my choice when I arrive home just at the moment my obscenely hot interior decorator neighbor is answering his door with just a towel wrapped around his waist to accept his laundry delivery. Oh well. I add a whole tomato from my garden upstate to make my BEC healthy-ish. The tomato is overripe so I have to eat the sandwich over the sink, with two cups of coffee to wash it down. I check the weather–sunny, not too hot, cool tonight–so I opt for a thin cotton sweater with a speckled pattern (cheap, from J.Crew’s outlet store) and a lightweight gray windowpane checked suit (expensive, from Lanvin). It’s my fashion week uniform.

9:20 a.m. This season, InStyle has partnered with Lyft to support a video series I produce during Fashion Week, filming interviews in a car between shows, so I meet a Lyft driver to head from my apartment in Chelsea to Tory Burch’s show on the Upper East Side. I left myself plenty of time, but traffic is terrible and I’m still not through Central Park as the show is scheduled to start.

10:15 a.m. I get out of the car and speed walk the last six blocks, and I’m among the last to arrive at Tory’s gorgeous garden show–so glad I made it—but it’s mortifying to dash in so late. Hope Emily Blunt didn’t notice! The show is terrific, too, with funny dresses and totes made from beach towels, and slides that look like they’re made from plastic lawn chair materials.

10:45 a.m. Jerel, the awesome Lyft driver, and I head downtown to see the new Faith Connexion store in SoHo, and traffic is so bad it takes about 45 minutes. I catch up on e-mails, Instagram, two phone calls and read everyone’s Calvin reviews.

11:30 a.m. The Faith Connexion store on Mercer Street is wild. It’s the first in the world for this insider streetwear brand, which started as a diffusion line of Balmain but became its own mysteriously cool thing after the owners separated. So there are lots of really ripped up jeans, gold sequin track pants, and shaggy sweaters that look devastated but in fact are designed to be that way. It’s evidently the best quality shredding you can find, and Alexandre Allard, the owner, introduces me to an in-house destroyer–a slight kid from Los Angeles–who will custom rip your clothes for you. Alex keeps saying he can bedazzle or put holes in my Lanvin suit if I want, and the way he looks at my blazer is starting to make me nervous.

RELATED: As New York Fashion Week Begins, Designers Put their Relevance to the Test

12:40 p.m. Traffic, traffic, traffic. It’s so bad, I head straight to Jason Wu’s show near South Street Seaport and get there with just enough time to order a lobster roll from the Ambrose food truck around the corner, and scarf it outside as Eva Chen teeters by in heels on the cobblestones. I grab a Fiji water on the way into Wu.

2:15 p.m. I stop by the office at Brookfield Place to deal with print deadlines. Jeffrey, our production director, looms ominously, asking for an ETA on that feature that’s way overdue. How’s next week for you? Sam, the market director, walks by with a bag of Maltesers, some kind of malted chocolate balls that arrived in a large box last week as if it were Halloween. I hijack a handful and chase them with a coffee from Black Seed Bagels, then review layouts for our November best-dressed feature, which needs some work. Ali, the style director, offers a watermelon Jolly Rancher but I pass. Sugar, during fashion week, is the enemy.

4:30 p.m. We are headed uptown to Monse and I wish I had that Jolly Rancher.

5:45 p.m. Monse, on a basketball court in a new luxury rental building near the entrance to the Lincoln Tunnel, starts 45 minutes late after waiting for Nicki Minaj to arrive, as if Paris and Nicky Hilton and Minnie Mouse, who are punctual, are not famous enough. Traffic finally seems to be lightening up.

6:15 p.m. While my colleagues take an early-bird dinner break, I press on to see the runway debut of Matthew Adams Dolan, a rising star who’s got all the early buzz this fashion week. I only suffer from FOMO when it comes to meals, but I really did want to see his show, so I zip down to Chelsea to a very, very hot gallery, where I strip down to my increasingly sweaty T-shirt. Casey Spooner, dressed in what appears to be a pink organza jumpsuit, has it much worse. (The show is worth it, by the way.)

7:10 p.m. We drive all the way back up to 59th Street for Brandon Maxwell at the Doubles Club for a show that’s a real hoot. I’m so hungry I forgo the champagne for fear of becoming sloppy.

RELATED: Who’s Cool at New York Fashion Week High School?

8 p.m. There’s a one hour break before Jeremy Scott, the final show of the night, at Spring Studios in TriBeCa, so as we drive down Fifth Avenue, Sarah, our executive features director, and I frantically think of places we can grab a quick bite. But it’s Friday night, so every restaurant is packed, and the minutes are ticking by as we travel downtown. Then she thinks of Lucky Strike, the SoHo institution that happens to be a block away from Jeremy’s show, so I book a reservation on OpenTable and somehow we get there with 15 minutes to spare. It’s risky, but we’re starving and manage to get a chicken salad on the table by 9 p.m.

9:05 p.m. Check please! Even in fashion time, when shows normally run at least 20 minutes late, we’re anxious to dash and leave our plates half finished.

9:30 p.m. In our seats. And, shocker, this show ain’t starting any time soon. But there’s Lionel Richie!!! Best celebrity sighting at fashion week yet! I start singing The Commodores’ “Oh No” to my seatmates who remind me I can’t sing.

10:45 p.m. Home. Would rather be going to the Calvin Klein party but I need to organize my notes, start tomorrow’s review, reply to 1,000 emails, and search for “Dear Evan Hansen” remixes online while finishing a pint of blueberry chocolate ice cream from Morgenstern’s.

12 p.m. Goodnight.

Do the colours you wear at work matter?

Different coloured ties

Does the colour of the clothes you wear at work matter? Could wearing a red tie or dress be the key to getting promoted?

Pennsylvania bank boss John Spier was fed up with looking like a “stuffy banker”.

So after decades of wearing loose-fitting pinstripe suits and anonymous ties, he decided he wanted a fashion makeover.

Taking a leap of faith, Mr Spier enlisted the help of a corporate stylist Toi Sweeney.

Overnight his old wardrobe was binned, to be replaced with “warmer ties and a more fitted suit”, says Mr Spier.

“She was able to preserve the professional look I wanted without making me seem like a stuffy banker.”

Mr Spier says he went from an executive who rarely thought about what he was going to wear, to someone who likes wearing colourful ties.

More importantly, he says the makeover has put a spring in his step, and made him more confident.

The saying, “you never get a second chance to make a first impression” perhaps resonates most in the workplace, where bosses must exude authority but also friendliness, and the rest of us want to look professional, but stand out.

Ms Sweeney believes “we are all products and your personal brand steps through the door before you do”.

She may have a point. According to research from Princeton University, when we see a new face, our brains decide whether a person is attractive and trustworthy within a tenth of a second.

Ms Sweeney says that the colours you wear also have a big impact on how others quickly perceive you. For example, she says red is a powerful colour that implies confidence and leadership qualities.

Whereas, blue apparently connotes a warmer approach, since “it’s the colour of trust and being a peacemaker”.

And black can suggest authority and sophistication, but Ms Sweeney advises that it should be mixed up with a splash of colour. She recommends a bright handkerchief in a suit pocket for men, or a colourful handbag for women, so as the person can stand out from the crowd.

Meanwhile, the colour brown should also not be discounted since it often suggests that the wear is reliable. “Ever wonder why United Parcel Service workers only wear brown?” says Ms Sweeney.

Kara Kuryllowicz, a 57-year-old corporate writer based in Toronto, hired a stylist last year to help modernise her look.

“I thought everything I owned was fine, but she came to my place and went through my closet and threw out 80% of my clothes,” she remembers.

Ms Kuryllowicz says she had “a long-time love affair with black and white, but now I’m wearing more colours”.

“Now I’m [also] wearing more jewellery with colour, and I feel really comfortable wearing it.”

Her new colourful look makes her feel more “professional and confident” and has helped her to win more work, she says.

While the cynical might question whether wearing a certain colour to work can really make a difference, a number of studies have actually shown that it can affect how we feel.

In a report published earlier this year in the European Journal of Social Psychology, participants who wore red reported feeling more physically attractive and sexually receptive than those who wore blue.

Also, in a study published in the Journal of Experimental Social Psychology, subjects who donned white coats that they thought belonged to doctors did better on tests than those who wore casual clothes, or those who thought the coats belonged to artists.

“What you’re wearing affects your mood and builds your confidence. It’s worth it to always dress a little better than those around you,” says Toi Sweeney.

Someone who knows about dressing better, is Kim Winser, a former chief executive of the UK fashion brands Aquascutum and Pringle of Scotland.

She now runs Winser London, a luxury women’s fashion label which also advises clients on what to wear in the office and for overseas meetings.

Ms Winser says that using colour is important, but doesn’t override the overall need to look as smart and presentable as possible.