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Her frank take on the business is perhaps one of the reasons why she’s been doing this for over a decade, but she admits that it’s not without its sacrifices. Like when she had to miss the wedding of one of her best friends in Morocco. “You have this career for a certain amount of time, if you want to take every opportunity, you have to really go for it,” she adds. Later, at the show venue, she offers valuable advice for walking in Westwood’s trademark platform heels, which famously once got the best of Naomi Campbell. “Because the shoes are so high, the trick is don’t cross your feet,” Maxwell demonstrates as she walks in a slightly robotic, albeit cool strut. “Walk very straight with your feet.” She confesses she meditates before she walks out on the runway, not worried about the shoes, but not not worried either. “Even if you fall, you have to laugh, and get up! It’s not a big deal,” she adds. It’s probably that same positive attitude that makes fellow model Bella Hadid feign jealousy at the Vogue crew filming Maxwell. “I want to follow Stella around for a day,” she exclaims. Stars are just like us!
“The Tudors: Art and Majesty in Renaissance England,” which recently opened at The Metropolitan Museum of Art, speaks to popular culture’s fascination with fashion, royalty, and fame, as well as image making, and so-called content. The show follows on the heels of Queen Elizabeth II’s funeral, with all its attendant pomp and circumstance, but even before her passing, designers were mining times distant. Nostalgia is nothing new in fashion; what’s unusual is that some designers are now reaching all the way back to the 15th and 16th centuries. It seems unreal that a farthingaled Queen Elizabeth I, as depicted in The Ditchley portrait currently on display at The Met, would have counterparts on the runways, but so it has transpired.
So why are constricting garments like corsets being revived at a time when women’s rights are threatened? Cocurator Elizabeth Cleland, of the department of European sculpture and decorative arts, suggests that taking on such garments or underpinnings “is almost like building up an armor around one’s self, fashioning this very distinctive silhouette.” The Tudors had reason to be concerned with appearances. As the curators write in their wall text, the family “was painfully aware that their claim to the throne was tenuous and that the prospect of a return to civil war loomed around every corner. The Tudor monarchs devoted vast resources to crafting their public images as divinely ordained rulers.” So successful they were at doing so that their traditions, though altered, have carried on. “We’re very aware of the fact that we’re opening this exhibition just a few weeks after the death of Queen Elizabeth II,” said cocurator Adam Eaker, of the department of European paintings. “A lot of the coverage was noting how consistent she was in her fashion choices—the fact that she would always be dressed in a single color, that she would be immediately recognizable in a crowd. That very careful tailoring, so to speak, of image is something we see already in the portraits of Elizabeth I or Henry VIII. There is a very consistent, very recognizable silhouette. There’s a visual brand, and it’s something that you see within the exhibition.”
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