Shiona Turini is a master at handling a busy schedule. She’s a fashionable jack of all trades, working in editorial styling, creative consulting, and costume design for television and film. She started in the PR department of an iconic French fashion house, then became an editor at some of the industry’s biggest fashion and lifestyle titles (including a stint as a contributor to the Cut). Most recently, she served as costume designer for one of the most impactful shows in the culture. Winded yet? She also consistently serves some of the best looks at any gala, Fashion Week event, or trendy restaurant. Here’s what she’s wearing this fall, with help from Bloomingdale’s.
Working on Location
Dressing for my day and not negotiating comfort for fashion are key. A day on set demands different pieces from my wardrobe than a day of meetings. On set days, I don’t take the comfort and functionality of a pant for granted. When I’m working, I usually choose pieces with pockets or a waistband — like a paper-bag style — that I can attach styling clips and safety pins to. I exclusively wear high-waisted styles and nothing too tight. They pair best with an understated top, but can still be classic themselves.
In my industry, it’s just as important to be expressive as it is to be professional. At a client lunch, I want to demonstrate that I am creative, but also business-minded. A suit with interest, like this one, often does the trick. Since I try to do as much walking as possible, a stacked heel or comfortable pump is my first choice in footwear.
Evening events can range from very casual to formal. My go-to outfit is coordinated separates. You easily look put-together and in dress code. A cropped tuxedo jacket can be formal, but it has edge and can match with just about anything. For a simple transition, switch out one article for something reflective — a top or skirt in a silk or metallic, for example — opt for more decadent footwear, and dump your daytime catchall for a minaudière or carry no bag at all.
This is paid content produced for an advertiser by New York Stories. The editorial staff of The Cut did not play a role in its creation.