First and foremost, tell us about how you got started in the fashion industry and about what motivates you to this day.

My journey into doing this full-time kind of evolved naturally. I've always worked in fashion before this, and I got my start in the editorial fashion world of magazines and styling. I would say that point of view really informs my collecting and the way I put things together. I have such a love of fashion history and the history of design that's behind all of these amazing pieces. I love to do justice to the amazing craftsmanship they used that is really no longer around today. I also find it important to know the history behind each piece because fashion is so connected to culture and society and what's going on in the world–or what isn't going on in the world. So I kind of always think about that behind what I'm doing as well.

What's your favorite era of fashion history?

It's so hard because there are so many eras that I really love, from the Victorian era to the styles of the 30s, which always have a special place in my heart. I love a 1930s dress, but speaking a bit more modern, it would probably have to be the early 1950s and that golden era of Paris couture. Going back to my earlier point, I feel like from the late 40s to the 60s, the world changed so much. The way that people were dressing became unrecognizable if you look back 10 years before, or 20 years before. So many cool things were happening and you can see the impact through the innovation in styles and shapes.

What was it like working at Vogue?

I could say so many things about that experience–it was years of nonstop learning and I was exposed to such beautiful pieces every single day. I'm so lucky to have had the incredible opportunity to work with many stylists and editors on shoots for the magazine. One thing that's always stayed with me is how the styling of a piece can totally change not even just the look, but the piece itself. It sounds obvious, but it took a while for me to really understand that and I suspect many other people haven't cracked that code yet either. Now that I'm selling and more consumer-facing, I've seen that most people take pieces at face value. They're like, "Oh, it's a skirt and the skirt comes with a belt. Great." But what if you could also take that skirt and wear it as a dress or bring the belt from the waistband to the bust and wear something oversized that wasn't necessarily meant to fit oversized but you're styling it that way because it's oversized on you and you're making it your own. I think that lens allows me to see potential in pieces that might not otherwise be obvious. So much of what I find when I'm sourcing are just amazing pieces that just speak for themselves. But there's always going to be pieces where you're just like "Uh...what is that?" when it's on the hanger or sitting in a pile. It's kind of a superpower to be able to forecast what that piece could become once it's put on the body, once it's styled, once you combine it with what's in your wardrobe. I think that was really ingrained in me from being exposed to incredible creative stylists and editors in an editorial sense.

What is your favorite accessory to give an outfit just a little extra umph?

I mean, there's so many things depending on what it is. A belt is obviously something that can really immediately transform the look. It's not just necessarily the vibes or aesthetic from a styling perspective, but it also immediately changes the fit of the garment. It can really alter the silhouette that you're creating. It's pretty simple, but an earring can also really change a look. I've been working with a lot of brides recently who are sourcing vintage dresses. Some of these dresses are so sweet in a great way–they're like this frilly, frothy confection. To balance this out, I recommend a cool, unexpected earring. It totally changes the vibe of the dress where it's not this frilly dress anymore. It really changes it in an instant.

How do you go about sourcing pieces that go beyond what people typically think of when they think about “vintage” –Victorian and older.

I source from everywhere. A lot of it is traveling and being physically at a place discovering things, but also sometimes I'm at home and someone else is traveling and coming across something that seems right for me. I've been lucky enough to develop an amazing network of people all over the world who are constantly contacting me about pieces and showing me new things.

Can you share how you expanded your curation into the bridal category?

When I put out my first real bridal collection, I had been in business for a couple years, but I've wanted to do it from the very start. I wanted to curate a special collection that would speak to any event that a bride has on her agenda–of course the actual ceremony, but also bridal showers, engagement parties, rehearsal dinner, second looks, and the morning-of-getting-ready looks, etc.People often leave those pieces til the last minute and wish they had worn something more intentional when they get the professional photos back.

No one really views their wedding as just one day anymore. So the first full bridal collection I put out, I worked on it for 4 years because I was obsessed with getting this well-rounded collection together.

Is there anything specifically that makes bridal different from the typical day-to-day as a dealer?

I love to connect with my customers in general, but the brides are always the ones you're going to have a lot of communication with. They're going to be telling you their inspiration, their references, their concerns, the weather, their family drama–all the things.

What are your goals for Very Breezy in 2025?

I’d love to get a bigger, dedicated space for what I'm doing because I've moved around a bit and I've been seeing clients more and more in person. I've also been working on a new collection and I do want to put together a whole lookbook for that and be able to show that to people.

One of the reasons I'm so excited about House Codes is that last year I was leaning in so much more to in-person popup events because I love to get that face time with the customers. But this is a different way to achieve a similar outcome, because it's not in person, but still it's personal. You're streaming to people. It's an interaction. I get to talk a little bit more about the pieces. So I'm very excited to do this because it's always my goal to connect with more people and make it feel personal and meaningful.

‍