A Conversation with Stylist Lauren Goodman

BY Taylor Rebhan

As a fashion stylist and journalist with experience working for well-known brands like Vogue, Elle, and Nowness, to name a few, we’re excited to introduce Lauren Goodman to you all. She’ll be joining us at our new San Francisco store for a special event this month, and we sat down with her to hear her take on the best trends of the season.

Join us Thursday, March 24 from 7-9 p.m. for the first collaboration in our stylist series at our San Francisco store (722 Montgomery St. San Francisco, California).

You’ll get to shop the Spring 2016 Watch & Leather Collection with Lauren and also enjoy a special preview of The Canfield, the newest watch in our collection of carefully crafted modern timepieces. Please RSVP at: RSVP_SF@shinola.com

Even if you can’t make it to SF, catch our interview with Lauren below. 

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Inside our SF store.

What are your favorite trends of the season and how do you stay updated on current trends?

White shoes for Spring, Bowie boots, and mules. Having grown up very “correct” in New Canaan, CT (a child of the ‘80s and teenager in the ‘90s) and feeling very bored, I have always been a lover of good taste/bad taste. These trends touch on the rebellion of the ‘90s, and the over-the-top glamour and garishness (and “bad taste”) of the ‘80s.

I love Vogue.com and Vogue Runway for staying on top of runway, street style, and celeb/Instagram-star style, and just knowing who people care about. I still miss Style.com, though.

Instagram is so well used within the fashion world nowadays, and it helps one keep up in real time. However, there is no replacement for being on the streets of New York, which is its own education (London too, any fashion city really). One has to visit frequently to update the eye, as the city, and fashion, move so fast. Diana Vreeland said it best, “The eye has to travel.”

Who are your favorite style icons?

Diana Vreeland, Blondie, Anya Phillips. 

In what decade do you think people had the best style and why?

I love the 1980s! Again, it was just so over-the-top. As a young child, I soaked up all that glamour and was ready to make my hair big and my clothes bold. It was so unapologetically excessive, and there was something about that (maybe growing up so preppy and restrained), which I really appreciated as a counter point. I also love color and print, and that was a great decade for it. 

What is your go-to casual, weekend outfit? 

FRAME denim, an APC linen tee, Co sweater, or vintage Fisherman knit, camel blazer from Rag & Bone, motorcycle jacket, BLK DNM x Moscot sunglasses, and white Vans.

What is a piece of style advice you’ve passed along to your closest friends?

Don’t buy clothes too small. 

With years of experience as a fashion stylist and content creator, what is your favorite memory of being ‘on the job’? 

There are so many good stories. One of my favorites is when I was assisting Lori Goldstein, the legendary stylist. We were shooting Italian Vogue with Steven Meisel, back when the two collaborated all the time on these epic 30 page stories every month. It was late 2001 or early 2002, and we were shooting couture on Linda Evangelista, when she had just turned 40, and was having that comeback. Pat McGrath was doing make-up — she had books of Kabuki make-up for inspiration, and an army of Japanese assistants who were mixing little pots of powder for her all day. (She was developing Giorgio Armani beauty at the time.)

Julien d’Ys did the hair. He just kept layering and combining, and squashing together headpieces and hats, strapping them to Linda’s head.

This was when models were younger and younger, and smaller and smaller — teenagers mostly. “Super models” had just gone away, of which of course, Linda was queen. She was furious that many of the samples didn’t fit and sniped, “They are all fetuses!” about the girls for whom the clothes were fit.

We shot over 20 images a day. It was very early in shooting digital photography, and novel that one could see the frame right after shooting it. Linda was so bewitching in front of the camera. So electric and powerful, one couldn’t not look at her. Steven was doing “exercise poses” that day, if I remember correctly. Pat McGrath had “Murder on the Dance Floor” playing on repeat. They would shoot a few frames all in a row after putting on a look and then check the images and invariably say, “We got it!” That was the beginning of “AMAZING”, and “MAJOR” too.

The shoot moved so decisively, everyone was working so fast. There was no deliberation. Lots of research up front, then almost pure instinct.

Use our store locator to get directions to our San Francisco store, here.

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