Easter is early this year, and temperatures are still quite low —which we love, as you may know by now. But as our mood inevitably shifts into something more carefree, so does our wardrobe. We’re not ready to part with our wool tailoring just yet, but we’re also not quite ready for light, barely-there pieces. So the answer is simple: denim.
(The same thing happens when the temperature drops after summer -but then, the answer is white shirts.)
Back to denim, though.
Stella’s
I’m not much of a denim person, I prefer tailored wool trousers over everything. BUT I admit they are extremely versatile and a perfect transitional piece. Because I don’t wear denim often, I always feel like the possibilities are endless when I do.
Even though I only own 2 pairs of jeans (both Levi’s, both men’s, both 501s), I’ve developed a bit of an obsession with a particular wash and that is raw denim. It feels very classic (and I’m a big fan of that) yet still elevated. For some reason, I love it even more with
( ^ here I wear pretty much the same things but more casually and layered)
Clearly inspired by Valisia’s choice of The Wild One, I tucked a silk scarf in my back pocket and felt very badass. Even while wearing a crisper than crisp white shirt and kitten heels (but, they are dirty so, yes, badass). Maybe it’s the denim effect?
I recently watched Rififi and was really inspired by the way Jean Servais wears his silk scarf (apparently, French jewel thieves in the ’50s wore silk scarves). He wears it back-to-front —that is, with the triangular part visible and the knot at the back.
That’s what I did here, but I used a silk mantón instead of a regular scarf, because I love the gold embroidery and the fringe. In this case, it also works as jewellery, because as we said I’m inspired by a jewel thief!
Did I watch Miami Vice right after Rififi? You tell me.
Here we have my second (and last) pair of denim jeans —essentially the same as the previous one, but in a light wash. It’s finally the season to wear my new Gillies coat-turned-oversized-blazer on repeat. I chose to make it in white instead of black because it feels very fresh to me (or very ’80s to everyone else).
Up until now, I’ve worn it as an all-white look, or all-white with black accessories. But it’s spring, so I swapped tailored trousers for denim, and somehow, it looks even more ’80s.
At the same time, it’s so effortless you could easily wear it somewhere with more trees and less cement over the Easter break. The matching wool blouse keeps the look minimal while still keeping you warm (because let’s face it, it’s not cami season just yet).
Alexandra’s
A good pair of jeans is never enough for me. Two isn’t either. I like having options; different fits, lighter denim for summer, more rigid ones for winter, and a full range of shades from deep black to faded indigo. Jeans are my shortcut. When I don’t have the time (or energy) to think about what to wear, they just work.
I’ve recently developed a mild fixation on bootcut jeans, which feels both regressive and strangely progressive at once. Their particular thing is in how they redistribute proportion and elongate the legs, especially when counterbalanced with something a bit more architectural on top.
In this case: a high-waisted black flared pair, styled with the KALLONI blouse (stand collar, short sleeves, handwoven decoration, and a circular side slit that gives the leg space to be visible), and grounded with chunky patent leather boots. The look nods to the early ’00s, certainly, but also—somewhat inexplicably—to the styling language of Wong Kar Wai.
All black, which simplifies things. It works across the day without much intervention - proof that a couple of thoughtful pieces can carry more weight than an overworked outfit.
Sticking to my “two pieces are more than enough” rule (self-imposed, but persuasive), I kept the bootcut silhouette and added a silk and viscose blazer. The challenge, of course, is that a blazer tends to corporate-ify everything on contact. Classic blue denim helps counter that, reintroducing ease and keeping the look from tipping too far into formality.
Spring has sprung, and it invites a certain looseness. So skip the layer underneath, leave the blazer slightly undone, and allow for a hint of skin. It softens the structure and makes the whole outfit feel like it happened rather than being overthought.
Oversized jeans? Don’t pair with a tight top. Pair with another oversized thing, obviously.
For this look, I grabbed what might be the most oversized, relaxed, low-waisted pair of dusty blue jeans in my closet. They immediately set a laid-back mood. Normally, I’d throw on a loose white shirt to float over them (it’s a classic I love) but this time, I went for something architectural instead. Literally architectural, as the tonal paneled design on the نوسناي shirt reads like a Marrakech doorway. Yes, your casual outfit can read like a travel poster!
Loose-on-loose is a negotiation. One element must give, and here it’s the shirt, which is left slightly unbuttoned. The jeans, by contrast, are allowed their full glory (as long as they touch the floor). I added red ballet flats for a pop of colour.
*A small tip: if you’re navigating Athens, fold those hems as the city’s streets are merciless. But if you happen to be in Tokyo, let them swing!
Valisia’s
This might be my favorite look of them all. And also the most “traditional.” Or at least, traditional in theory.
Because when I think of jeans, there’s always that image lurking somewhere in the background: the cowboy, the blue denim, the boots firmly planted in the dust. A uniform that was never meant to be aesthetic, but somehow became one. So naturally, I go for the full denim situation. A matching denim shirt, because if you’re going to reference something, you might as well commit.
And then, I interrupt it with the corduroy Bruce of Kinnaird jacket which comes in to completely shift the narrative. It carries that unmistakable countryside energy, almost aristocratic in attitude, with its structured presence and tactile richness. The corduroy alone already suggests tradition, but then there’s that detail -the strap, embellished with silk fringe- which feels slightly excessive, slightly theatrical, and therefore necessary.
It stops the outfit from becoming too literal. Too “cowboy.” Too expected. So, it’s not about authenticity. It’s about composition. And maybe that’s what makes it feel modern. Not the pieces themselves, but the way they refuse to stay in their original context.
I am currently in a very committed relationship with the Levi’s baggy barrel jeans. They’re loose, effortless, but still hold their shape - almost sculptural, with that subtle balloon curve that makes everything feel considered, even when it isn’t.
But comfort alone is never enough. I needed to disrupt it. So I paired them with the “Death of Leichhardt” dress which is worn not as a dress, but as intention. It reveals just enough at the bust to shift the energy entirely, yet somehow the look never crosses into obvious territory. There’s balance. There’s restraint. And that’s where things get interesting.
This is exactly the line I like to walk: not too conservative, never boring, and always with a trace of something slightly mischievous. The kind of outfit that doesn’t explain itself but also doesn’t need to.
And then, the hat. A baseball cap, because sometimes you need an element that casually denies everything else that’s happening. It pulls the look back just enough, like saying, relax, it’s not that serious, while very much being that serious. It also saves the outfit from looking like I’m on my way to a club at 2am - which, for the record, I’m not. Not today.
When Stella saw me in this outfit, she said I reminded her of Marilyn Manson. And I didn’t argue. Why would I?
“Hey you, what do you see? Something beautiful or something free.”
I think what she really meant is that it echoes something familiar. That teenage instinct to dress like you have something to prove. The difference is that now I don’t. The clothes stayed, the urgency didn’t. There’s something slightly confrontational about this look, but in a quiet way. No theatrics, no effort to impress. Just a suggestion that you might not be entirely approachable, and that’s part of the appeal.
So, when I’m on the run, I refuse to look like it. Comfort is non-negotiable, but so is presence. So I start with my 2WO+1NE=2 T-shirt -reliable, minimal, almost too simple- and then I disrupt it slightly. My mother’s vintage sheer top comes in like a whisper of drama. And then, the jeans. The Levi’s baggy barrel jeans are doing most of the talking here. They hold structure, they create distance, they say “I’ve moved on” without being nostalgic about it. If this were years ago, I would have probably squeezed myself into a pair of skinny jeans, convinced that discomfort was part of the silhouette. Growth, in this case, looks like volume. Space. Breathing room.
Have a great Easter!
Stella + Alexandra + Valisia