Crushing on Sabrina Kyle

Indie wrestler meets retro badass zombie killer

Sabrina Kyle is an indie wrestler. This means she catapults off turnbuckles, high kicks people in the face, and performs flips and other gymnastic manoeuvres, all the while trying not to rip a carefully thought-out costume so that she can do it all over again. Kyle has found her calling in a sport that too often uses costume to trivialize its most talented female athletes. By sticking them in impractical (but sexy) outfits or with silly gimmicks, it can be nearly impossible for anyone but the smartest of marks to take them seriously.

Kyle started training six days a week when she was 15. She was the only girl at the time at the Living Legends Wrestling Academy, which was unfortunately common. The professional wrestling scene treats female wrestlers as a special attraction, most shows often featuring only one women’s match a night. Kyle is all too familiar with this reality, as she has had to constantly compete for attention among the ever-growing number of female wrestlers in North America, all of whom are trying to be noticed in a sea of blonde hair, pink bras, and glitter.

But after eight years in the game, Kyle has started to come into her own. She knows what makes her different and persistently changes her style to stay above the fray. Now she’s a fashion leader on the indie circuit as well as a household name in Southwestern Ontario and the Northern Midwestern US. Her gear is a significant part of her identity as a wrestler, along with her gritty personality and top-notch ability. WORN caught up with Kyle to ask her about her personal style and how she stays true to herself.

How would you describe your personal style?
Comfortable. I just wear whatever, I really do.

And how would you describe Sabrina Kyle’s style?
I would say retro, ’50s, zombie, horror. For a while I was doing the superhero thing, so everything was Harley Quinn or Batman-oriented. I used to wear these huge bell-bottoms. Now I’m doing more of a rockabilly thing, and my gimmick right now is like a little sailor outfit, and then I wear Frankenstein socks. I just try to bring a little bit of horror into it. I try to be unique—not like every other female wrestler out there.

Would you say your personal style affects Sabrina’s at all?
[Shakes her head and laughs.] Night and day.

Where does your gear come from?
I design my outfits. I’ll either be watching a TV show or reading a comic book, I’ll see an outfit and I’ll think, “Oh, I can turn that into wrestling gear!” So I will show my mom pictures of what I want. My mom’s a seamstress and she does all the sewing. She makes my pad covers, everything.

Does Mom have much input?
My mom’s very supportive of whatever I want to wear. Sometimes she will think that something will look better another way, and she’ll just go ahead and make the change. I’ll get my finished product and notice, “Okay there wasn’t supposed to be black there,” but it usually looks better.

Do you generally seek out fabrics or patterns you like, or does your mom take care of that?
My mom and I, we always go to Anne’s Fabric Store in Hamilton. Their entire attic is all lycra and spandex. They know me; there’s actually me and a couple other wrestlers that get our material there, and they give us discounts because they know we’re wrestlers and we always put their name out there to other people. My mom usually goes with me and helps me pick it out. I usually know what I’m looking for when I go in, but sometimes I find some material that’s totally crazy.

Is everything you wear made from scratch?
Once or twice I’ve bought spandex pants from Zellers or whatever and had them cut off or redone, and then had stuff added to them. But usually my Mom has patterns, and she just makes it.

Has she ever made you other clothes, or just your wrestling stuff?
Oh yeah, she’s made me outfits. She made me a Batman dress out of a Batman sheet for my birthday last year.

When you’re not making your costumes, are there any particular stores you like?
Value Village, Winners, Hot Topic. I have one outfit: it’s black spandex with army print netting, and it has bell bottoms. But I got made fun of a lot, so I don’t wear it anymore. People would rib me backstage at shows all the time.

Does that bug you?
When it’s guys in the back, I would say no, since I’ve known them all since I was 15. But I do get upset when people post pictures online critiquing the way I look. People have called me the most ridiculous names—I weighed 220 pounds for a while, and trust me, people let me know that I weighed 220 pounds. I mean, it doesn’t feel really nice when it happens all the time. But with the guys, I don’t care about them. Most of them look like they’re wearing diapers anyway.

Are there any fabrics or styles you avoid?
Vinyl or pleather. A lot of guys wear pleather, and it looks backyard. I would never wear basketball shorts—I wrestled in the US one time, and the girl I was wrestling showed up wearing basketball shorts and a Jeff Hardy t-shirt. I would never wear running shoes. If I absolutely had to, I would wear kick pads over top of them to make them look more legitimate.

Would you ever wear heels in the ring?
I wouldn’t. I was managing the Amazing Darkstone for a while when I was hurt. The promoter wanted me to wear heels and dresses to every show—do you know how hard it is to walk around a wrestling ring in high heels? It’s padding, right. I couldn’t do anything. If I had to do a spot, I would take my heels off before I got in the ring and wear flats. If I couldn’t wear flats, I wouldn’t do the spot, ’cause I knew I could break my ankle. I have a hard enough time walking in heels as it is.

What’s your favourite wrestling outfit?
Probably my Harley Quinn outfit. There are a lot of girls doing the comic book thing now though, so I don’t wear it anymore. I wrestled one girl at a show, and then the next time I saw her she had almost identical gear as me. There’s only a couple of us in Ontario… but I didn’t say anything, I just changed what I was doing.

Does your wrestling gear make you more confident?
Yeah! I feel like a badass zombie killer. Laughs. It boosts my confidence. When I put my gear on and get in the ring, it’s business time.

Costume is important to a wrestler’s personality. How does it contribute to a gimmick?
It depends what you’re doing, and if you’re even doing a gimmick. Most girls don’t actually do gimmicks; they just wear what they want to wear. One girl I wrestled would always wear bathing suit bottoms and a bathing suit top—but she didn’t have a gimmick, and it didn’t matter ’cause everyone knew her name. But if you’re doing a vampire gimmick, then you’re not going to wear bathing suit bottoms and a bathing suit top—you’re going to make yourself look gothic. If I was trying to get over as a punk rocker, and I came out in a white bra and underwear… it makes no sense.

Male or female, who is your wrestling fashion influence?
Well, my favourite wrestler is Gangrel from the Brood, during the Attitude era—he did a vampire gimmick. And Trish Stratus. I think every girl says that, though—at least every girl from Toronto; she’s the most influential diva ever. But no one in wrestling now influences my style. I was really confused for a while about what I wanted to do—I did a showgirl gimmick, in which I wore sapphires and sparkles all the time, I did the superhero thing for a long time. I was just so confused, and I wasn’t getting noticed. If you want to be a female wrestler and you want to go somewhere, you need to have a gimmick, a look. You need people to say, “I remember that girl. That’s the girl who wore that.” Someone told me to just think of things I like and incorporate them into my gimmick and style in the ring. I really like B-rate horror movies and rockabilly music, and as far as fashion, I love Bettie Page—I wish I could dress like her every day. So I incorporated all that, and that’s how I got where I am now.

What’s your dream costume?
That’s a hard one, because my mom already makes what I want her to make. For my next set of gear, I want to get a two-piece made. I’ve never worn a two-piece the entire time I’ve been wrestling. But I’d like a two-piece made with Gir from Invader Zim—like a zombie Gir, with a brain cup on the side.

Do you think going pro wrestling (WWE) changes the way girls dress in the ring?
Well, I don’t actually watch WWE that much anymore. But Natalya, she wears Hart Foundation gear. Ever since day one in the WWE, she’s worn gear. And Awesome Kong/Kharma, the gear that she wore in WWE, she’s always worn that—but they made her wear makeup. When she was working indies, she wouldn’t wear any—she was supposed to be mean, that was the gimmick. When they brought her into the WWE, that’s the gimmick they wanted her to do, but they made her over, made her look like a giant Barbie doll. Same with Beth Phoenix; she was supposed to be this powerhouse, but they had to make her look feminine. I like her gear, I liked her one-piece… but before she left, she was wearing a skirt. And they make women into jokes. Like they put Beth Phoenix with Santino for the longest time, and she wasn’t even doing anything. Don’t get me wrong, I like Santino, but why would you put your most dominant female with this person to make her look like a joke? And with Natalya, they did a gimmick with her where she was farting all the time. It was so stupid. And Mickie James, I really didn’t like that Laycool gimmick they were doing for a while, where they were calling her “Piggy James,” ’cause she was a little bit bigger. That was part of the reason I liked Mickie James, because she was thicker, but she looked good and she could wrestle. Yet they played off that, and made fun of her for it. No wonder she left.

Sometimes promoters or other wrestlers will influence the choreography of a match. Do they ever dictate what you need to wear?
Now, a lot of the girls around here work hard to make themselves legitimate. Before it was all bras and panties or a bikini match. That’s what it often comes down to: sex appeal. Actually, a promoter once tried to book me and Kaitlin Diemond in a lingerie match at an indie show. I emailed him back and told him I wasn’t going to show up if that’s what he wanted us to do. I would have shown up in Batman boxers and a t-shirt anyway. I had a gig in the States where they made me do a cowgirl gimmick for a while—my name was Scarlett Rose and I was a cowgirl. I wore jean shorts, tied my shirt up and wore a cowboy hat and everything. I did that for two or three shows. But when I had had enough, I told him I was leaving. I left for a year, and then I came back on my own terms. I said, “This is the gimmick I’m doing now, I’m not changing my name.” He still wanted me to wear these little tiny outfits, because he thought it would get better ratings. But I’m not going to wear a bra and panties for a show that airs at 2:00 a.m. on Sunday mornings. Not to mention, if I go out there and do that, I’m going to get heat from the other girls who are legitimate wrestlers that I look up to, like Portia Perez and Sara Del Rey. Their outfits allow fans to focus on their wrestling ability, and not their looks. And that’s what we should be focusing on. I’m not Kelly Kelly. I’m Sabrina Kyle, and I’m going to wrestle the way I want to wrestle, and I’m going to wear what I want to wear.

photography // Laura Tuttle
artwork // Averill Smith

Behind the Look

Vogue celebrates some of their favorite in-house stylists with a new book

Condé Nast’s most recent literary exploit, Vogue: The Editor’s Eye is an ode to the role of the stylist, fashion editor or sittings editor – the glue between the photographer, the model, the writer and the magazine itself. Beginning with Anna Wintour’s forward, The Editor’s Eye explains that until recently, stylists weren’t even identified in the credits for the photo shoots they coordinated, a ghastly oversight considering the influence they wield over a spread. The book is in some part an attempt to rectify this omission, giving the stylists the credit they deserve. Through an anthology of essays and accompanying image portfolios, it showcases some of the magazine’s most talented stylists throughout the last 65 years, with a particular focus on how their different personalities helped shape the various trends we have seen in fashion editorial.

I enjoyed the journey through Vogue’s history, starting in 1947 with Babs Simpson. The book effectively distinguished between the magazine’s different eras – loosely based on the editor in chief at the time (from Dianne Vreeland, to Grace Mirabella and then Wintour) – focusing on how the reigning editors inspired and collaborated with the sittings editors at the time. The eight essays, each focussing on a different sittings editor, were eloquent and insightful, and overall a pleasurable read. I especially enjoyed the essays on Jade Hobson, Carlyne Cerf de Dudzeele and Tonne Goodman; I thought their profiles really captured their individual attitudes and styles. The various essayists also succeeded at painting a fascinating picture of a seemingly golden epoch for fashion editorial during the 60’s and 70’s.

Each profile was accompanied by a portfolio of images to underscore the theme; I found the photos striking and timeless for the most part, though I think certain portfolios did a better job of highlighting their stylists’ approach than others. I thought Camilla Nickerson’s body of work included in the book added great insight into her personality and modus operandi; it was thematic, tight and complemented the essay well. Same goes for Jade Hobson and Babs Simpson. However, there were times when I found it difficult to distinguish the differences between certain editors’ styles, and I didn’t think the images accompanying the essays always illustrated the point the writers were trying to get across. As an anthology, it wasn’t very cohesive; though in their own right the profiles and portfolios were certainly effective.

If you consider Vogue your fashion bible you will enjoy this book. But, make no mistake, this is a book published by Vogue, written by Vogue writers, about how great Vogue is. For a more ambivalent reader seeking an unbiased gaze into the fashion editorial field as a whole (including influences from other magazines), you may want to keep reading.

photography // Brianne Burnell

Crushing on Dave Raimey

More than just a football uniform

In the early ’70s, if you knew anything about Toronto football, you knew about Dave Raimey. Considered one of the best running backs of his time, he was inducted into the CFL Hall of Fame in 2000. Though he played in both the US and Canada, he is best known for playing with the 1971 Toronto Argonauts, named the “greatest team that never won,” after they lost a Grey Cup game following a slip on some wet grass.

Raimey was known in his own right, frequently featured in magazine spreads and news articles, photo shoots and retail ads. This exposure had as much to do with his football playing than it did his groovy threads. Raimey’s eclectic clothing (most of which was hand sewn) made him something of a style icon in the ’70s, creating a cult of fans who followed him both on and off the field. Naturally, WORN is smitten.

How did you first get interested in sewing?
I started sewing years ago. We got hand-me-down clothes: my grandmother would go clean a house somewhere out in the wealthy part of town and bring back clothes that people would give her. I learned how to alter them to fit me.

Who taught you how to sew?
My mother died when we were eight, nine, 10, and 11. I was 10. So I became very attached to my aunts; there were four of them, but one sewed. She had a business going; she’d make hats for women. I used to watch her. Now my son, he sews. And he learned by watching me. I was a single parent, raising him by myself, and he watched me sewing. I bought him a Mustang, when we were living in Columbia, South Carolina. I reupholstered his Mustang for him, brand new seats. It was the first time I had done that, but it turned out fine, and I think that may have sold him on sewing.

So how old were you when you picked up your first needle?
Probably 13 or 14.

How did it evolve from there, from altering your own things to making clothes from scratch?
I used to make clothes, but right now I just alter things. I’ve been shopping at thrift stores for 30 years; I was shopping at thrift stores when I was playing for the Toronto Argonauts. I just always did that. I guess because of my upbringing, I love to shop at thrift stores. I have so many clothes, it’s unreal. Like nice stuff! Fabulous clothes, well-made, high-end clothing. You know, I will pay full price for stuff too.

I’m also really fond of reupholstering. I was a member of the Interior Decorating Society in Dayton, Ohio. Paid my dues! And I decorated a few houses for some folks that I knew. I just always liked that. I still re-upholster. In fact, I’m going home this weekend to get my machine. It’s real big and heavy; it’s a walking foot. I have other machines: here in town, I have three—sorry, four.

So do you ever go to a tailor?
Oh yeah, I go to tailors. I’ve got a jacket now that I’m doing. The shoulders, you’ve got to take all the padding out, and it’s such a complicated job. My real good stuff I take to the tailors! But, I’ve made vests and pants. I’ve even made hats! I made my daughter a graduation dress when she graduated from high school. It was a bold pattern, sort of form-fitting. But she wanted it, so I made it up for her, and she wore it. I was kinda proud (laughs).

What’s your favourite thing you’ve ever made?
I made a men’s jacket with pockets here and pockets there (pointing to his chest and sides), and epaulettes here. Black. I still have it, I made it a long time ago. Kept it all these years ’cause I was so proud of it. I’ll tell you a story: In elementary school in Dayton, Ohio, Grade 6, they had this class where half the year you could cook (home ec), and the other half was sewing. I couldn’t cook, but I got an A in the class. I made a corduroy shirt: orange corduroy. It had what they call a Billy Eckstein collar, a big collar. It went up and folded down. But the worst thing I did, is I made French cuffs on a corduroy shirt. It was ugly. I went home, put the shirt on, and the French cuffs were in here (points to the insides of his wrist). The teacher didn’t even notice. I ended up just making it short-sleeved.

Do you think that class influenced you at all?
Yeah, it did. It showed me how to sew the right way. Since then, I’ve been altering clothes, fixin’ things. I’ll buy a suit, take it home and put the cuffs on myself, and shorten the sleeves if I have to.

A lot of people would find it surprising that a football player was so openly into sewing in the 1970’s…
Yeah, I got kidded quite a bit about it.

Was there anything that ever bothered you?
No, never. You know they kidded me, and you can imagine what they’d say (laughs). They just did a special on our team (The Greatest Team That Never Won), and [the director] called me a fashionista. She said, “Dave, were you offended by that?” It doesn’t bother me, never did. I enjoy it because it’s creative, and it’s very relaxing. And I enjoy looking good and appreciating things that I’ve made.

I heard a rumour that you used to take your sewing machine with you when you traveled, is that true?
(Laughs) No.

Do you have fabrics that you lean toward, or things you like to make?
In the last ten years, I’ve liked vests, real loud vests. Loud and bright, you know, I think that it’s sharp for men to wear a white shirt, or short-sleeve shirt, and a colourful vest. I’m looking at making one now. I think it’s great to wear with a suit. Now they’re making sports jackets with that kind of design already sewn into them, I don’t know if you’ve seen these, but they’re really big right now. But I can’t find a pattern, so I’m going to have to make my own. That’s my next project.

Do you take a lot of pride in the stuff you make?
Yeah, everything. The stuff I’ve made, the stuff I build, the things I’ve fixed. With the knowledge I have, I try to do it the best I can. It’s the only way to do things. Like football, I gave it my all. Every game, every play.

Has anyone not liked something that you’ve made?
No, not that I’ve made. But one day I was wearing an overcoat, down in Dayton, and I loved the coat; I had got it at a thrift store. And some woman told me, “What you doin’ with that old coat on?” It hurt my feelings! I kept wearing it that season, but then stopped wearing it the next season.

Has your style changed much since the ’60s?
Yeah. I’ve always liked shirts with lace on them and they used to kid me, but I’ve always liked that. I think it’s sharp. Paisley, that is one style I did not like. And I never did like bell-bottoms; I’m a short little guy with thick legs, I never looked good in bell-bottoms.

I marvel at some of these designers, some of them are just geniuses, the way they figure out clothing for men and coordinate it. I look at a lot of that today, and there are some talented folks out there.

Do you think in another life that could have been you?
Yeah, but I’m not sure I would have been as good as some of these people I’ve seen. I would have loved to have designed clothing for men. Women’s fashion, I know nothing about that.

Is fashion more personal for you, or do you pay attention to trends?
I do, every now and then, in the magazines, but I just kind of dress how I like. I’ve been watching through the years, and they’ll go with the baggy pants, and then go to tight-fitting, and then back to baggy. They have a wide lapel and they go to a narrow lapel. I’ve watched all that, and said to hell with that, I’m just gonna wear what I wear.

photography // Laura Tuttle

What to Wear When Hot on the Trail

Whether solving crime or cracking codes, it's best to do it in style

Fashion has always been filled with mysteries: What is hiding behind Karl Lagerfeld’s sunglasses? How can there be more than 52 fashion weeks in a year? Lotion and denim—meant to be?

Then, there are some things we don’t even need to question. As long as there have been sleuths—whether in fact or fiction—there has been clothing to covet, be it elaborate disguises or the more traditional trench coats. We got our Wornettes to get to the bottom of the case in figuring out who the best-dressed detectives are.

Dr. Julia Ogden (CityTV/CBC’s Murdoch Mysteries)
As Murdoch Mysteries‘ token “New Woman,” Dr. Ogden is a doctor, early forensics specialist, and women’s health advocate. She is also intellectually and temperamentally a perfect match for the series protagonist, Detective William Murdoch, and their partnership is the heart of the show. Her style reflects her position as a woman in a world of men, and she is almost always wearing menswear inspired pieces like ties, vests, and separates. But as the show has progressed and her presence has become more accepted (and she has moved away from the autopsy table), her dress has grown softer and more feminine. In the season 5 finale, she sexed it up completely in a black and red, low cut, sleeveless, beaded and sequined ball gown, the perfect outfit for a woman who is about to leave her husband for another man in 1900. Intelligent, brave, and forward-thinking, she’s the woman I would want to be if I were alive in Victorian Toronto—heck, she’s the woman I want to be now. // Megan Patterson

Hercule Poirot (multiple Agatha Christie novels)
“The neatness of his attire was almost incredible,” Captain Arthur Hastings remarked about his old friend Hercule Poirot in The Mysterious Affair at Styles. “I believe a speck of dust would have caused him more pain than a bullet wound.” Useful, when one’s job is solving crimes.

Agatha Christie introduced her diminutive, fastidious, and arrogant detective in the ’20s. She couldn’t have known that the transplanted Belgian, with small mincing steps, would follow her the rest of her life. Poirot was laid to rest the same year as his creator, in 1975. By then, his three-piece suits, bowler hats, and patent leather shoes were ludicrously out of date. But it’s fitting that a character that Christie described as a “detestable, bombastic, tiresome, ego-centric little creep,” would stubbornly cling to his jazz age style in the era of punk.

Poirot’s most famous attribute was without a doubt his moustache—a small handlebar, always perfectly waxed. In some Poirot films, he’s even shown wearing a moustache-net while sleeping. When dressing actor David Suchet, the definitive Poirot from the BBC series, the costume designers tested 40 fake moustaches in order to find the most symmetrical one. For costumers, as well as detectives, details are of the utmost importance. // Max Mosher

Jessica Fletcher
(CBS’s Murder she Wrote)
It ain’t easy maintaining a sleepy east coast lifestyle while catching crooks on the regular in rural Maine, but Jessica Fletcher pulls it off with as much flair as guile. Whether she’s unearthing a crime at a Native American archaeological dig, dining with one of her countless nieces and nephews, or sleuthing with Magnum PI on a trip to Hawaii, she does so with an elegance that can only come with knowing that her night out will end up with her talking to the cops (seriously, does nobody question that wherever she goes, reckless murder tends to follow?). With clip-on earrings, jaunty hats, houndstooth jackets and a scarf collection that would earn jealous glares from the likes of Nancy Drew, her mix of belted, shoulder-padded mackintoshes and smart button-down vest combos offer up the best of nor’eastern fashion that makes us all want to curse, “clam dip!” // Whitney Wager

Carmen SanDiego
Where in the world is Carmen SanDiego? We never actually figured that out, but her tomato-red trench coat remains unmistakeable. Sandiego was the title outlaw of the 1980s children’s computer game where players scoured the globe looking for clues of the thief’s whereabouts. SanDiego wore the classic bank robber’s uniform of all black, topped off with a bright red floor-length trench coat and matching fedora, always poised for the getaway. It’s a testament to her stealthiness that she could remain perpetually untraceable while wearing some of the most noticeable clothes, earning her the apt nickname of “The Lady in Red.” Sure, unlike the other names on this list, SanDiego was more a crime starter than a crime solver, but her conspicuously coloured trench was the ultimate subversion of classic detective attire. // Isabel Slone

Mata Hari
Marilyn might have sung “Diamonds are a girls best friend,” but it could have easily been said by the French courtesan Mata Hari, who was executed during WWI for being a supposed double agent. Often seen lavished in exotic diamond head-pieces and decadent silks fit for a bold spy disguised as an Egyptian goddess, Mata Hari’s glamour possessed an intruding sexiness uncommon during the still reserved days of Edwardian Europe.

When Greta Garbo played her in the 1931 film Mata Hari, the velvets, the furs, and the intoxicating amount of bling undoubtedly became one of the strongest focal points in every scene; so exuberant are they that it puts every modern-day Kardashian’s luxury to shame. But it’s not the excess of luxe that makes Mata Hari a fashionable dream—with a hazardous history of prostitution, seduction, and espionage. It’s the way in which all her diamonds are threaded with dangerous mystery, intrigue, and two-facedness that allow her and her style to become the quintessential archetype for dicey femme fatale glamour. Even James Bond called her his first true love. // Paulina Kulacz

Lana Kane (FX’s Archer)
Archer is one of those cartoons in a post-Simpsons world in which you can’t let its animated facade fool you—this is not a show for kids. It constantly straddles the line between delightfully subversive and obnoxious bro-humor with its frustrating Don Draper-meets-James Bond protagonist, secret agent Sterling Archer. Lana Kane (Aisha Taylor) is Archer’s ex-girlfriend and coworker, her no-bullshit attitude providing him much needed foil. And though the way she is drawn recalls ridiculously sexist notions of female anatomy seen in many male-targeted comic books (seriously, her chest-waist-hips ratio makes Barbie look like a stick) she actually gets to fight crime wearing relatively sensible clothing. OK, her high-heeled boots are a little nuts (though impeccably badass), but she’s got a whole wardrobe of these turtleneck sweater dresses that she wears to the office that scream, “I Enjoy Being an Attractive Lady But Also it is Important That I am Comfortable While Doing Behind The Scenes Intel Work Yet if Need be I can Also Easily Kick Your Ass in This Skirt, Also: Check Out My Gun Holsters; I Have Two of Them.” If only my own knitwear could be so badass. // Anna Fitzpatrick

Harriet the Spy (1996 film adaptation of Harriet the Spy by Louise Fitzhugh)
Forget typical trench-coats and fedoras. Eleven year old Harriet M. Welsch does her best secret snooping in classic ’90s grade-school style. Solid tees are layered over long-sleeved stripes, jeans and hoodies are very baggy, and plaid flannel is never far out of sight. On duty, Harriet (played by Michelle Trachtenberg before she became an evil mastermind) wears a bright yellow raincoat and a matching utility belt (it holds up her massive jeans and carries vintage spy supplies); her ever-present “PRIVATE” notebook is tucked in the front of her jeans and binoculars hang around her neck. Harriet is always ready for action, whether she’s hiding in a rich lady’s dumbwaiter or hanging from her best friend’s window ledge. Most of the time she’s sticking to practical pieces in primary colours—except when she’s dancing to James Brown in an onion costume. // Stephanie Fereiro

Joan Watson (CBS’s Elementary)
Being TV’s first gender-swapped Watson wasn’t enough for Joan—she also had to have a pretty wicked sense of style. As a born and bred New Yorker, I suppose this only makes perfect sense. When we think of Dr. Watson from other adaptations of Sir Arthur Conan Doyle’s Sherlock Holmes stories, we typically think of someone very stuffy and buttoned up, and his style has always reflected that. Jane Watson on the other hand, exudes fresh breath of casual air, in her demeanor and her clothing. Her wardrobe is the exact opposite of the stuffy Victorian gentleman’s—flowy tops, leggings, perfect unstructured jackets, LOTS of New York-appropriate black, and miniskirts (girlfriend loves a miniskirt, and has on more than one occasion worn a leather one). Lucy Liu makes it all look effortless in that infuriating way she has, even the parts that involve dead bodies (which is, of course, most of them). // Megan Patterson

illustrations //
Jenn Woodall
To see more stylin’ detectin’, check out our Nancy Drew inspired editorial in issue 9 of WORN Fashion Journal.