Drawing Style From Pain

“What doesn’t kill us makes us stronger” is an old adage many of us have used to feel better about the hard times we face. It reminds us that we must draw our strength from pain, whether we want to or not, in order to survive, or better yet, thrive. A closely related concept is the idea of creating art out of pain. History is filled with individuals and people groups who have created something beautiful from pain. In fact, much of creativity evolves from some sort of dis-ease, a desire to get something out in a way that relieves the uneasiness. I’m often interested in cultural movements like hip-hop— a culture that originated from the creative minds of an oppressed people with few resources. It’s not only expressed through music but through clothing and the way people style themselves. That is in essence, drawing style from pain, clothing style to be exact. And by pain, I mean anything that creates a disturbance in us. Of course, fashion never takes the place of dealing with emotional difficulties through clinical interventions like therapy and medication. But it can be used as a supplement in much the same way art therapy uses art to assist with healing.

So if whole cultural movements do it, how do we as individuals use pain to develop our style? Is that even a thing? Let’s consider the Rudd and Lennon model of body aesthetics. According to the model, we internalize cultural ideas of beauty and create our appearance accordingly. When we are not satisfied with our created appearance or others’ assessments of it, we develop coping strategies. Some of them include, trying harder, giving up and feeling badly about how we look, and changing our own personal standard of what is beautiful.

So this model gives us some insight into a few things. 1. It’s difficult to develop our sense of style without responding to a cultural ideal. 2. We should try to be aware of how we have internalized these standards and how they affect us. And 3. We can create our own personal style based upon the standards we have internalized and rework them to express various aspects of ourselves. I believe it is in this re-working process that we draw style from pain. Let’s say someone perceives us as shall we say, less than attractive.  We can try harder to fit their ideal or feel badly about ourselves (neither is appealing). Or we can change our personal standard of what is beautiful. One way to do that is to dig deep, figure out what interests us, what we like, and how that relates to who we are. If we are successful at doing this, we stop placing so much value on our looks (so it’s fine if you are considered beautiful or average) and place it on the things that give us joy. This is where our beauty lies. It is from this space we can create. And ironically, what started as painful becomes art. So how do we do turn pain into clothing style, practically speaking?

Ok. Here are my ideas.

1.       Exposure

Study your surroundings. Watch people, nature, and the way things move and interact around you. What do you like or don’t like? I loved the grey hair with pink tint on this lady, or the way that girl wore her head scarf, or the unique swagger that guy had. I also liked the way that flamingo looked perched on the gate... (you get the idea). We may not always know how these experiences will translate into our clothing style, but keep it stored and see if we can use it to turn pain into something creative later.  

Study different forms of media- art books, art history books, magazines, coffee table books, online images. We can get inundated with social media so looking at books can be a refreshing change, particularly old design books that can provide a wealth of context for our modern world, and maybe even our pain.

seeing what’s out there

2.       Dress the Different Parts of you

During periods of discouragement or sadness you still have to get dressed. So what parts of you would you be excited to express. An edgy side, a feminine side, a [insert here] side… The idea is that we have all seen some aspects of someone or something we connect to, and this is in an indication that what we see is a part of us. Similar to actors who are able to play different roles b/c they pull from a part of them that can relate to the character, even if it isn’t pretty. I have these floral, wide leg pants that I call my Jimi Hendrix pants. They remind me of something Jimi Hendrix would wear, and I love them. But what is it that I really love? Jimi Hendrix is way more wild than I’ll ever be, yet something about his wild, cool vibe, and crazy colored clothing seems exciting and fun—that is, there is a little bit of that I can relate to. So I wear it to express that part. Maybe it just makes me feel better; or it’s a side of me that is being overshadowed by a more discouraged side, and I want to let the wild side out. Whatever the reason, we can use positive self-expression to drown out the pain. Here are some different sides that I like to express with my clothes.

Rock star Pants (i.e., my jimi hendrix pants)

quirky school teacher or maybe Librarian Chic

dreamy with a dose of practicality

3.       Make the details the main thing

In this age of the internet, there is no new outfit under the sun. There isn’t going to be a store no one else has access to. There isn’t going to be an item of clothing only you have—unless you make it yourself maybe. The point is, everyone has access to everything, so developing your style based upon clothing pieces alone may not feel unique or interesting enough to combat the pain. It’s all about how you put pieces together—how you mix the ingredients. And starting from a place of pain has it’s advantages because our pain is unique to us. What does your discomfort make you feel; and how can you put outfits together in a way that draws from the pain in a creative way? Often, if my outfit isn’t really speaking to me, I make it about my nail color or jewelry, the way a shirt is tucked in, or the way I wear a scarf, and somehow it makes me feel better about my outfit. The other day I saw a celebrity in a string of pearls and a T-shirt and was immediately drawn to it. Why? It’s no secret I love juxtaposition but somehow it seemed fresh—maybe because it was just one string of pearls, understated and elegant with a throw away T-shirt. It felt accessible and faux upscale in a fun way—it felt like a energizing way to combat some of the discouragement I was feeling. More recently, I was admiring pointy black nails and minty green short nails—both very different looks, but both expressed something beyond my pain. A little vamp, a little uptown…something other than discouragement. In much the same way a boxer might box to release tension, drawing style from pain allows us to release our negative energy into something productive.

all about the head scarf…or coat

all about the string of pearls

What are your ideas about drawing style from pain? Is this something you are attuned to? I’d love to hear your thoughts.

Different Time, Same Style: Iconic Patterns

I’m fascinated by the clothing people wore to express themselves in the past. It’s a lot to consider—their personality, ideas about clothing passed down to them by parents or caretakers, wider cultural ideas about what specific pieces meant, the social-political zeitgeist, and how a person put it all together to create their unique sartorial expression. I like to take this stroll down memory lane a step further by conceptualizing what these people from eras or decades past would wear today, in our time and culture. When I see a picture of someone from the past, I consider what factors impacted their clothing choices during that time. While I take creative liberties, I look for relatable themes I use to construct what their outfit might look like today if they were the same age in the picture. I feel like this type of exploration helps us to refine our own style (what Trulery is all about). Lately, my teenage son has been into wearing headbands. He asked me if I liked it; and I asked him the reason he decided to wear it. Then I proceeded to bombard him with a series of questions (just like a mom). I asked him what statement he was trying to make with the headband; if he knew how, where, and in what context the headband originated; and how, where, and in what context it has been used since then. I shared that if he does not know the answer to these questions, it’s difficult to make a strong statement with the headband because he does not know what he is reacting to, or what message he is actually conveying. Needless to say, he hasn’t asked me about the headband since. But my questioning drove home the idea that confident dressing is very much dependent upon our knowledge of history.

For this installment of DTSS, I’m featuring iconic fabric patterns that have lasted through time— plaid, houndstooth, and florals. Similar to the headband, it’s a good idea for us to learn the meaning of the patterns we wear in order to become more attuned to the messages we’re conveying through our clothes. Of course, it’s an ongoing process, but we can learn together.

blazer/dress/purse/shoes/ inspiration pic/same feels pic

Plaid

We often associate plaid with Scotland; but plaid (or tartan as it’s called) has apparently been around way longer. In fact, archeologists discovered the fabric on mummified bodies in Central Asia! Since that time, plaid has been associated with Scottish families/clans and later used as part of their military uniform. In the United States, it became associated with pioneers and lumberjacks; and was considered a fabric suitable for outdoors. By the mid-twentieth century, plaid was used everywhere from clothing to wallpaper; and has been thought of both as anti-establishment and aristocratic. So seeing Denise Huxtable (aka Lisa Bonet) wearing an oversized plaid blazer in the late 80’s early 90’s, it feels “punk” or “boho”. Both blazers and plaid are masculine; and the idea of a female wearing an oversized plaid blazer is ironic, and perhaps intended to subvert the power structure, in the most stylish way of course. Not to mention, it is also very comfortable to wear, and perhaps somewhat alluring. The oversized blazer still carries the same anti-establishment vibe it did 30 years ago, and perhaps the irony is heightened given the increasing erosion of the white, heterosexual male power structure. Worn with a slip dress, the blazer exaggerates the juxtaposition between feminine and masculine, and the allure that wearing both holds. I accessorized it with a modern, square toe slide that I love, and it fits well with the angular feel of the blazer.

blazer/pants/boots/headband/bag/sweater/ inspiration pic/same feels pic

Houndstooth

Like plaid, houndstooth has been linked to Scotland (they have a way with patterns), and was worn by shepherds (it’s also known as “shepherd’s check). By the 1930’s houndtooth was seen as a symbol of wealth, and designers such as Christian Dior used it in their collections. The classic, black-and-white pattern manages to look both modern and vintage at the same. When Lauren Bacall wore it during the 1940’s, she made it seem both edgy and sophisticated, especially with the beret (which is often associated with military and police), and of course the cigarette. Now offered in a variety of colors, the houndstooth pattern may seem less classic than the black-and-white, but continues to carry that distinguished appeal. In an attempt to evoke the same edgy, refined appeal as Lauren Bacall, I thought I’d pair it with combat style boots and a braided headband to keep it ladylike.

dress/necklace/shoes/bag/inspiration pic/same feels pic

Florals

Floral prints are believed to have originated in Asia, and have been around for centuries. But throughout much of history they were reserved for the “upper classes” until technological advances made printing more accessible. Floral designs are most associated with femininity especially when dainty and small. However, different floral patterns evoke different feelings. For instance, the large, colorful geometric florals of the 60s’s feel modern and fun. The inspiration photo is reportedly of an African-American girl in 1910, and she is wearing the Edwardian fashion of the day. Reportedly, newly freed black people wore these clothes to stand out; and the history of black people “stepping out” or “showing out” may be attributable to this time when it was so important for them to express themselves and their identity. I think this picture is beautiful and love how she is wearing a belt and necklace—signs of individuality. I decided to recreate this look using a dress with floral embroidery, and these Jamaican inspired sandals are a subtle celebration of (my) afrocentric heritage.

Which prints to do you wear the most, and why? I’d love to hear about it in the comments. :)

Dressing for Your Body Type: Athletic/Skinny-Fat

Hi There! Way back in 2017, I interviewed three women with different body types about their body image journey. I thought it would be valuable to share how they overcame their struggles with their bodies in hopes that it would help us with ours. Well, I’m excited to be bringing back the series because if we’ve ever needed support as we strive to become the best version of ourselves it would be now when the world feels so upside down.

For this installment of the series, I’m interviewing the VP of Design Development  for Coach, Pamela Saunders. Pamela has a sharp sense of style (and I’d low key like to raid her closet). So I was happy to be able to pick her brain about her body image journey and style sensibilities. Now go ahead and take out your (virtual) pen and pad and start taking some notes! See the interview below.

Trulery: How would you describe your body type?

Pamela: I would lovingly describe my body type as athletic/skinny-fat.

Trulery: Ha— skinny-fat! How would you say your body image evolved—how did you learn to appreciate your body?

Pamela: My appreciation for my body image has been quite the journey. The moments that shaped it the most were post-college, corporate America, and COVID. I was always a snazzy dresser, thanks to my mom who started out as an executive in retail and came home with new items weekly. But I was always in oversized clothes (and still enjoy them actually) and very preppy.  This continued when I went to college, in a very small town, in the mountains. I wore sweats and Birkenstock’s for years; and because of the coverage, I wasn’t as focused on my health or body. Needless to say, I gained the freshman 25, and it stuck. Fast forward to post-college, I started to go to boutique gyms, and tried different work-outs. Once I started seeing my athleticism, and how quickly I was able to gain muscle, I was addicted.

Entering corporate in the fashion space heightened my appreciation for my body. I was able to try different trends and appreciate how my body looked in many different styles. More recently, my relocation to Costa Rica in early 2021 made me love my body and all its flaws. It was hotter than Hades, and there was no way I could ever cover cellulite and stretch marks. I was a beach bum whenever possible and lived in a bikini. There was so much freedom in just enjoying the sun, focusing on being healthy and “surviving COVID.” Everyone in town had the same mentality and was focused on wellness, growth, and self-care. So there was no room for insecurities and not loving yourself. It was a liberating experience!

Trulery: What is one piece of advice you would give to anyone struggling with your specific body type?

Pamela: I would say to anyone struggling with my body type— “get over yourself!” I was so self-conscious about my thighs that I never wore shorts until this year. Now that’s unimaginable! Self-love is everything. No one is perfect, and if you embrace yourself, the world is yours!

Trulery: What styles or pieces of clothing work best on your body and why?

Pamela: I’m 5’5” on a good day, and short-waisted. So any item of clothing that can help elongate me and skim my shape works for me. Some of my go-to pieces include a wrap dress that creates curves, and balances my top and bottom; midi-slip skirts or dresses; and long trousers with heels. Of course my bikini, and cropped blazers that lengthen my lower-half.

See Pamela’s 6 staple wardrobe pieces.

Vintage Saint Laurent/ Missoni Crochet-Knit Bikini/ Military Combat Hat/Dries Van Noten Jumpsuit/Gianvito Rossi Floral Lace Peep-Toe Booties/Tamara Mellon Hellbent Mid Calf boot

You can see more of Pamela here.

Trulery Profiles: A Product Development Expert's Take on Seeing Vision Come to Life

As consumers, we rely on brands or companies to be socialization agents, and the products they create and market heavily influence us. They show us what to wear, and if the product is appealing enough, we listen. I thought it would be interesting to get an insider’s view of the product development process to see just what brands consider when developing a product for retail. My good friend, Myriam, has been in the field of product development for a number of years, and has played an integral role in carrying a product from vision to life for companies like Coach, Nine West, Sean Jean, and Pink. Her titles have ranged from Sr. Design Development Coordinator to Color & Materials Specialist. So when I asked to pick her brain about the product development process, I was happy she agreed. Here’s what we talked about.

1. Trulery: You always say product development is not very creative, but is there some creativity to it?

Myriam: Well, you have to have a working understanding of color and design to help make decisions during production that keep the integrity of the product. It comes down to the relationship you build with the designer, and how comfortable they are relinquishing power over to production. When a designer learns to trust your eye, it makes for a stronger working relationship.

I’ve only worked for mass market brands, and designers are typically not involved in the day-to-day work of production like sending emails or talking to factories. They may want a pant with a specific detail, cut, or color, and it’s up to the production team to pass the information along to get those details. Product development is essentially a conduit of information between factories, regional offices, and service providers. Some designers micro-manage, others give the development team more leeway. But generally, product development brings the vision to life and any complications with the process needs to be dealt with by us. If a change needs to be made to the product, the designers need to be made aware.

2.    Trulery: When a designer has a vision for a product, I assume they want to see that vision come to life in the way they imagined. But it probably doesn’t always happen that way, right? So what are some considerations that affect the way a designer’s vision is carried out?

Myriam: Cost is one major issue that can affect a designer’s vision.  A designer may want a specific, high-end maternal but it may not be cost-effective to use it. Let’s say a designer wants a specific leather that is too costly, product development will search for a more inexpensive fabric or a synthetic leather that closely resembles the original leather. Sometimes it could be just a trim or a button that throws the price out of whack.

Other times the availability of a material becomes an issue. Production may no longer be able to get the material the designer intended from one factory, and it costs higher than expected in another.  Or maybe the company that specializes in a specific detail like a glitter color no longer runs that color anymore. When these issues occur, a shift needs to be made.

Another consideration is consumer feedback. Brands look at customer reviews or show new ideas to focus groups to get a feeling of what the customer is gravitating towards. This can affect what gets put on the line.

checking out an assortment of heels while visiting a factory for nine West.

3.  Trulery: Is the designer ever completely unhappy with the changes?

Myriam: Sometimes they get upset because that detail is the best for the product or would appeal most to the customer. It’s a hard pillow to swallow if they feel the product is dumbed-down and does not maintain it’s intent. But it’s up to production to provide the best back-up while still producing a product that’s profitable.

It’s best to have a designer who understands production so when things don’t work out as planned, it’s not as much of an emotional process. But there’s a balance— production may be able to see the value in spending more money for some details and taking a hit somewhere else. It’s a collaborative process.

Ms. M taking a much needed break from the all encompassing work of production.

4.    Trulery: When a company puts out a product, their bottom line is to get consumers to buy it and make a profit. What do they think increases the chances of a sale? Does the vision ever get lost in trying to make the sale?

Myriam: Brands work really hard to create products that the customer is looking for. So the question becomes “where do we win?” Is it bras, work-out clothes, a T-shirt?” and then, “What’s doing well?” Once we figure it out, we put our effort into creating things that keep the customers coming back. If it’s a T-shirt, we’ll make new iterations to keep it interesting. Brands do their best to build customer loyalty.

I don’t think a vision is ever lost to make a sale. There’s always a desire to maintain integrity. The market is saturated, and brands have to know what they stand for. They want customers to buy something because they know this brand will make something they like. Customers can buy leggings anywhere, but as a brand, you want them to buy from you because they know your brand. Of course, brands want to capitalize on trends; and try to make sure assortments reflect what they’re seeing in fashion. But they have to tweak it in a way that makes sense for the customer. The brand’s vision and what the customers want should be aligned.

5. Trulery: What are some processes or a specific way of working that help to create a product most aligned with the vision?

Myriam: There is no formula but it happens more often than not. It’s about having all the pieces line up. The brand does all the market research to get the right fabric, color assortment, and fit so there is a clear vision. When it’s time to make a presentation, they’ve done all that work so a strong start helps.

The production team doesn’t get involved in the early stages of the process. When we get the initial view of a product, we share information with providers to get them to start looking for counter sources or a similar affordable option if we need to, to avoid delays. We also have books and can look at the archives; or might remember a piece of leather and leave it open as an option. We always want the initial product to be made exactly how the designer intended to see what it costs and make changes as needed.

6. Trulery: What product have you enjoyed the most and why? 

Myriam: It’s exciting to see something come in and know it will sell because it connects to what’s happening in fashion and fits the brand— everything clicks. Those are the times I get excited.

Myriam reviewing material swatches to ensure that the fabric matches the swatch (the smaller fabric) provided. Sometimes factories get it right the first try (as seen).

7. Trulery: What is the most fun part of the product development process and the least fun?

Myriam: The most fun I have is when I start with a sketch and then see a product come to life. That’s the best part— being able to hold the product in my hand. Sometimes I think, I remember trying to pick a button for that, or we almost didn’t have that detail, or the fit process was crazy but look at it now. I appreciated at Nine West when they could push a little and create something more fashion forward.

The least fun is not being in a position to make significant creative decisions. Product Development is about execution, not so much ideating. That’s not to say we can’t bring decisions to the table. There’s a tremendous amount of creative problem-solving that goes into our work (in terms of solutions for construction or material), but the initial vision is someone else’s and that sometimes is a bummer. That, and how administrative the work is- lots of charts and emails!

8. Trulery: In your experience, do companies adequately consider the internal processes that affect consumers when purchasing—processes like identity, age, ethnicity, class, body image, or even things like the other shoppers in the store, or the music playing?

Myriam: They do. We are in a time when customers are accessing their voice and power; and are looking for brands that align with their values. Brands know customers can spend their money anywhere; and want to stand for something bigger than just “buy my T-shirt.”  So much volatility has been stirred up socially and there’s a lot happening with Black Lives Matter, body positivity, LGBTQIA, and sustainability. These discussions are happening in a way that’s more intense; and it’s more important for people to shop in places that take a stand for things that matter, to see people who look like them reflected in advertising. So brands focus on marketing these issues.

Social media has a huge impact on this shift because everyone has a platform; and it brings people closer together. Customers have access to people now like celebrities, and there can be a dialogue in a way they didn’t have before. So brands have to be genuine and authentic. It’s not just about sales, its about people.

9. Trulery: What is something you think consumers would be interested in knowing about the product development process?

Myriam: That it’s not all glitz and glam. When I tell people I work in fashion, they automatically think of red carpets, models, and designers. But there’s a lot of behind-the-scenes work like following up on emails, costs to be negotiated, and a lot of administrative work that requires detail, focus, and the ability to pivot. You need to problem-solve. I like to say it’s basically a corporate desk job in a really fun environment

Different Time, Same Style: Special Occasion

I continue to be fascinated by the clothing people wore to express themselves in previous eras. It’s a lot to consider—their personality, ideas about clothing passed down to them by parents or caretakers, wider cultural ideas about what specific pieces meant, the social-political zeitgeist, and how a person put it all together to create their unique sartorial expression. I like to take this stroll down memory lane a step further by conceptualizing what these people from eras past would wear today, in our time and culture. When I see a picture of someone from the past, I consider what factors impacted their clothing choices that day. While I take creative liberties, I look for relatable themes I use to construct what their outfit might look like today if they were the same age in the picture. For this installment of Different Time Same Style (DTSS), I’m exploring our mom’s clothing choices— mine and my friend Myriam’s mom to be exact. I’m focusing on special occasions, as getting dressed up to go out really brought out the fashionista in these women.

In order to understand our moms’ sartorial choices, let’s consider their history. Myriam’s mom, Ms. Zula, always liked clothes, and her interest in clothes came from her mother. Though she did not grow up with a lot of money, her mother made sure she was put together with her hair combed and styled. She was drawn to dressing up, and described her style as “fancy".” In her adult life, Ms. Zula moved from Haiti to the States. Like many Caribbean women, she worked hard to create a good life for her children and family in a new country; and instilled many values in them like responsibility and pride. So being well-dressed one way to express these values.

In this picture, Ms. Zula is dressed up for a holiday function— a time we all love to show off or best gear. When Ms. Zula was asked about her outfit choice in this picture, she said she felt good about her dress. She liked the color and the way it fit. She had no qualms about wearing red and pink because “they go together.” Sometimes people shy away from the tension created when you combine variations of a hue, but not Ms. Zula! She just felt it was pretty and that was enough. I find that carefree approach so refreshing. Also, Ms. Zula’s fine jewelry is significant to her. Both the necklace and broach are the first expensive pieces she bought with her own money, and she still has the pieces today! I think having sentimental pieces is the ultimate form of self-expression— it cuts through trends to create a wardrobe that has personal meaning.

The elements that stood out for me in Ms. Zula’s outfit are the prettiness, the carefree quality of combining variations of a hue, and the refined, significant pieces of jewelry. See how I think Ms. Zula would style her outfit today.

Carolina Herrera dress/ Saint Laurent sandals/ Marni bag/ Oscar De La Renta broach/ Kate Spade necklace / Inspo photo

And next we have my mom. If you saw me talk about her in my intro video, you heard me say my mom wasn’t into fashion at all. For the record, I’d like to correct that statement. What I meant to say was that she did not necessarily know name brands, or scour through fashion magazines. BUT, she definitely enjoyed expressing herself through clothes and had her own unique way of dressing. Like Ms. Zula, my mom came from the Caribbean— Jamaica. She later lived in England for 15 years before deciding to relocate her family to the States. I think for her, America represented opportunities, and a chance to live a good life—one that she enjoyed expressing through her clothes.

In this picture, my mom was going to church— an integral part of my her life that gave her many opportunities to get dressed up. When I asked her about her outfit in this picture, she said it is a “two-piece” light pink suit; and she wanted to wear a suit because it was “more sophisticated” than a dress. She chose light pink because “everyone was wearing” it at that that time. And of course, it all had to match to appear really put together. She also wore a lacquered rattan purse with a wooden handle (the same one I rock today) because she thought it looked “stylish” and couldn’t find it anywhere else. All of this lets me know, appearing polished, cultured, and unique was high on her list, and a reflection of what she valued.

The elements that stood out for me were the suit with pastels and pleats. The masculine touches on this otherwise feminine ensemble likely created the sense of “sophistication” my mother was drawn to. The matching, monochromatic color scheme suggests effort and thoughtfulness—very much unlike the carefree, I-woke-up-like-this look we value now. I thought about how my mom would incorporate the sense of pride reflected in matching her pieces (which is more ironic and nostalgic now) with the more carefree style of dressing we revel in today.

Marco De Vincenzo dress/ Max Mara blazer/ Mehry Mu bag/ Prada shoes/ Thada velvet headband/ Inspo photo/ Chloe shades

Here is my mom again at my brother’s graduation. It was the end of the 70’s and everything felt heavier and weightier, and clothing felt thicker and less airy (think old school polyester). Though much time has past, some staples remain. It’s hard to see from the picture (sorry about that) but my mom is wearing a light pink skirt suit—super cute then and now, right?! When asked why she chose the outfit, she said “I thought it was very pretty…When I saw it I loved it right away…It fit me so well.” Now here is a woman who knows what she likes. For those who tend to deliberate before buying something, there’s definitely something to be said for knowing “it” when you see it. If you have to think too much about it, it may not be the right piece for you— agree?

The major element that stood out to me was the tweed-like matching skirt suit, reminiscent of Jackie O. Perhaps if my mother were the same age today, she would update it with a bustier (probably not, that’s more me) and thong mules that make the outfit appear lighter, and less stuffy than in previous years.

Giambattista Valli blazer/ Giambattista Valli skirt/ Brother Vellies shoes/ YSL handbag/ Prada sunglasses/ Nicholas bustier/ Inspo photo

Do you agree with my interpretation? How do you think these women would style their outfits today?

Dressing For Your Body Type: Petite

Hey Everyone! I'm excited to share with you a new mini-series, Dressing for Your Body Type. It's where I interview women about their body image and how they've overcome insecurities about their body type. I think most of us have struggled through body image issues at some point in our lives no matter what size or shape we are. As I have gotten older, I've had a hard time trying to maintain my 20's body, and have not always felt as comfortable in my skin as I'd like. I work through it by trying to keep a consistent exercise regimen, making healthy eating choices-- most of the time, and understanding that I do not have to wait until I reach a certain size to value myself and my body. I try not to be so focused on my physical appearance that I forget my worth and purpose is much bigger than that. It's definitely an ongoing process but it's worth it to keep at it, particularly when we often get unrealistic messages about what we should look like. For this series, I decided to interview three women with different body types in hopes that you'll be able to relate to at least one of them and their unique journey to a healthy body image. This week, I'm interviewing the lovely Nicole Borjas. Here's what she had to say:

Trulery: So Nicole, how would you describe your body type?

Nicole: I'm definitely petite.

Trulery:  I think being clear and confident about your body type is a great first step towards a healthy body image. How has your body image evolved, or how did you learn to appreciate your body image?

Nicole: I've learned to embrace trends that are more flattering to my body type and not feel so bad about skipping the ones that don't always work for me. That in itself has helped me learn how to appreciate my shorter frame more. There are a lot more clothing brand options now for petite ladies which is fun to find.

Trulery: I agree that knowing what works for your body is key. What is one piece of advice you would give to anyone struggling with your specific body type?

Nicole: Finding clothing that is tailored well to your body frame is very helpful. It took me a while to figure that out. Sewing machines, or tailors are your friend.

Trulery: And it's always good to have clothes that are uniquely fit since so much of what we see is standard and mass produced. What styles or pieces of clothing work best on your body and why?

Nicole: I am loving the high-waisted trend. High-waisted jeans are my favorite. They make my shorter legs seem longer which I appreciate.

Trulery: What are some must-have pieces you think make a good foundation for your wardrobe and why.

Nicole: My must-have pieces are....a little back dress, high-waisted jeans, a quality white T-shirt, black jeans, and a leather jacket. I like good wardrobe staples that you can adapt from day to night, and can wear in different seasons.

Thanks Nicole! Check out her wardrobe staple picks below!

1.LBD 2. jacket 3.black jeans 4.jeans 5. t-shirt

If you can relate to Nicole's body image journey, feel free to share it with us.