Lydia Wornette

Our new stylist intern talks frilly, girly details and the pizzazz of Diana Vreeland

Sometimes I like to imagine myself as the most interesting person you could ever meet, but usually I’m just your ordinary girl who’s found herself deeply seduced by the glamour and mystery of fashion. While so many people find solace and comfort in black, I regularly dress as if I’ve exploded out of a children’s cartoon. I believe that more is more: colours, prints, and heavy texturing. Load on the accessories and layer the clothes. The louder, the better. Why bother making a statement if no one can hear it, let alone feel the impact?

Personal style provides a fluidity that factual information never can. What I wear says much more about me than what I study or where I work. You can know me before I even open my mouth. The way I dress embodies my mood, my identity, and my aspirations. It’s how I express myself to the world. The meaning of dress, and the creation of beauty through what people wear, is the all-consuming focus of my thoughts.

That’s it. That’s Lydia, the new styling intern at WORN.

Current Inspirations

Diana Vreeland
I absolutely adore her personality and what she stands for. Her work at Harper’s Bazaar, Vogue, and The Costume Institute in the Metropolitan Museum of Art is inspirational. Her pizzazz is legendary and her point of view is so unique and distinct. Her creation of fantasy and her constant drive for the unexpected is motivational.

Susie Lau
She has a quirky cartoonish style filled with frilly, girly details and an intelligent point of view to boot. What’s there not to love?

Katie Grand
The magazines that she started (Pop, AnOther and Love) are thick, juicy, and always filled with the most interesting editorial photos. Her distinct point of view is so undeniably original. I love her amalgamation of playfulness with tailoring and luxury.

TrendLand’s Editorial Page
The dirty dirty truth is that a lot of the time I look through fashion magazines just to see the editorial photos. (Except when I’m reading WORN, of course). TrendLand saves me the trouble of flipping through dozens of glossies by posting all the amazing editorial photos right online, with descriptions of models and stylists.

photography // Laura Tuttle

Book Review: Diana Vreeland

book review by Meagan Allison-Hancock
Opening the striking red-lacquered cover of Diana Vreeland, you experience a little bit of awe and admiration — quite the way I imagine you’d feel stepping into Diana Vreeland’s red-lacquered office at Vogue in the 60s. Eleanor Dwight’s biography reveals a lifetime of ambition, creativity, and eccentricity, creating an all-encompassing picture of legendary fashion editor Diana Vreeland. Dwight isn’t afraid to address Vreeland’s flaws and follies, but always maintains an underlying respect for her formidable subject. She charms the reader with descriptions of Vreeland’s work ethic and the products of her creative mind. There is a certain nostalgia expressed for a time when women were charmed and inspired by Vreeland’s “Why Don’t You…” column at Harper’s Bazaar (“Why don’t you rinse your blonde child’s hair in dead champagne as they do in France?”) and by her lavish and fantastical photo spreads. Her ability to spot potential in a model and to draw out a particular pose or representation of beauty is especially praised.

While the book may be heavy on historical detail, with a tendency toward tangents, this quality also helps to contextualize Vreeland’s role in fashion history and the progress of style since the 30s. Rife with family photographs, illustrations, and portraits of the glamorous players in Vreeland’s personal and professional life, the book is a treasure trove of intimate detail and clues into the mind of one of fashion’s most enduring figures. The chapters on her youth may be dry at times, but they express Vreeland’s growing awareness of the importance of image, and her pivotal decision to carefully cultivate a distinguishing look for herself. Even as a teenager, she was wise enough to understand the implications of image yet not be deterred by her unconventional looks. One of the lasting impressions of this biography is of this very wisdom, and its role in her observations of the fashion world. Compared to trite and fleeting members of the fashion community, Vreeland is naturally ensconced there due to her intuitive understanding of the meaning of style, rather than the superficiality of trend: “A new dress doesn’t get you anywhere; it’s the life you’re living in the dress.”

Surveying her role at Harper’s Bazaar, Vogue, and later at The Met’s Costume Institute, this biography evokes the passion, drive, and revolutionary eye of a woman who created a prominent place for herself in fashion history. You close the book feeling like you had the chance to know Vreeland, and pine for the days when Vogue really knew how to turn out original and provocative covers and photo shoots.

Diana Vreeland by Eleanor Dwight (HarperCollins, 2002)