Is there anything you’d never be caught wearing?
Never say never!

What’s your opinion on fast-fashion? Do you indulge in it or enjoy looking at images or looks that mix things like Zara with high-end designer labels?
Well, realistically I think that most people mix things up because they can’t afford to buy everything. But in a way it’s also a little bit like fast food. I think that on the whole we should be trying to encourage people to make and buy and wear clothes that are thoughtfully designed and lovingly made.

The Ivy League style exhibition is in the works. You attended Yale, do you think that your education and where you went to school influenced your aesthetic?
Well, Ivy style is curated by my colleague Patricia, I didn’t curate it. I dropped out of high school and lived in this commune and then I went to Dartmouth, which was where Animal House was conceived, and then I went to graduate school at Yale. I certainly didn’t dress like an Ivy League person as an undergraduate. I was tottering around on high-heels through the snow and ice and I didn’t wear green until decades after I graduated from Dartmouth. And then at Yale I had some kind of neo-punk aesthetic. Last year I finally bought this little puffer parka and my husband laughed and said “Oh finally, you look like a Dartmouth girl!” [laughs]

In your opinion, what are three necessary ingredients to success in the fashion industry and in general?
Well, when I’m looking to hire people, I always look for people who work hard and are nice. The third thing for success, I think, is you have to be really passionately committed to what you do. You have to really love what you’re doing otherwise, you can certainly find easier things to do.

What’s the most exciting part about your job?
Ooh, playing with clothes of course! I think the most exciting part is when you’re working on an exhibition and you’re trying to figure out what you want to put in the exhibition and you’re trying to find the clothes that you want. Working on the mise-en-scene, how are you going to present all of the clothes, I think that’s exciting. It’s also fun because you’re not doing it on your own. You’re working with another curator or with an exhibition designer, you’re working with all kinds of people to try and make the best production that you can.
How do you get out of work mode? You’re probably always inspired by things but when you want to shut-off, where do you go? What do you do?