logo
Nia Thomas Redefines Resortwear With Modern Elegance

Nia Thomas Redefines Resortwear With Modern Elegance

Elle17-06-2025
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy.
Some people spend their entire lives trying to home in on their passions, but for Nia Thomas, it seems like her destiny was written from the start. Growing up on New York's Long Island, she spent her evenings assisting her aunts in their alteration shop, learning just as much about the world through the lens of design as she did in any classroom. Within the walls of her family shop, she traveled through eras of history via vintage sewing patterns and discovered different cultures through the textures and colors of endless bolts of fabric.
Years later, all these lessons manifested in her eponymous resortwear brand. Restless and eager, she first hung out her shingle at age 23. Motivated both by a desire to travel and the hope of seeing more Black female designers rise to the mainstream of fashion, Thomas channeled ease and serenity in her early designs. 'Honestly, at the time I just wanted to feel like I was on vacation,' she jokingly confirms. Hand-crocheted dresses and bikinis, alongside seashell-embellished designs in shades of white and cream, quickly became staples and bestsellers for the young brand. From there, everything started to fall into place.
'It all happened so fast,' she says. 'I went from putting together a small fashion show to staying up until 3 A.M. creating a website so people could buy my designs.' Reflecting on her early days as a designer, she chalks up some of her fearlessness to naïveté. Nonetheless, her story motivates her to this day. 'You can do this at any age,' she says. 'You just have to be a little delusional and know that nothing can stop you.'
It's a sentiment that also sums up the process of creating her fall 2025 collection. Regal tones of blue, purple, and red were a departure from her usual neutral hues. 'I have such an affinity for warm weather and traveling to places that are rich with culture and color,' Thomas says. But her lineup was also full of contradictions. Halter tops were hand-crocheted using leather cording, while long coats and bolero jackets made of paper raffia swept the runway—letting us know that resortwear is for everywhere and anytime. 'When people think of materials like raffia, they automatically think of a straw bag you take to the beach,' Thomas says. 'But I say, 'No, you can wear it in the fall as a coat,' because I want to challenge what people think these materials can be used for.'
Thomas had a pop-up late last year at 'It' resort Palm Heights in the Grand Cayman, and her line is sold at Moda Operandi. Though her impeccable crocheted designs wouldn't be out of place at any of the White Lotus resort locations, she refuses to be pigeonholed. 'I want to steer away from solely being known for resortwear; I feel like it's just the thing that [resonated] with people. Still, I'm glad because there are so many designers who spend years trying to figure out their signature,' she says. 'Resortwear chose me; I didn't choose it.'
A version of this story appears in the Summer 2025 issue of ELLE.
GET THE LATEST ISSUE OF ELLE
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Gladys Dropped a Last-Minute Bombshell in 'The Gilded Age' Season 3 Finale
Gladys Dropped a Last-Minute Bombshell in 'The Gilded Age' Season 3 Finale

Elle

time9 hours ago

  • Elle

Gladys Dropped a Last-Minute Bombshell in 'The Gilded Age' Season 3 Finale

Spoilers below. No one likes to admit that their mother is right, especially when it comes to their love life. That includes Gladys Russell (Taissa Farmiga), an ultra-wealthy heiress who didn't have the power to avoid marrying the noble suitor her mom Bertha (Carrie Coon) picked out on The Gilded Age. But in the season 3 finale, while George (Morgan Spector) and Bertha's marriage lies in tatters, Gladys is actually happy. She thrives as a wife and duchess and is excited about the next stage of her life: motherhood. Yep, Gladys is pregnant. 'Gladys wanted freedom, and in the end, she finds it by becoming a mini Bertha, but maybe with a bit more heart,' Taissa Farmiga tells ELLE. It is a far cry from Gladys running away in the middle of the night at the start of the season when Bertha forbade her engagement to a banker. 'The means that Gladys finds her liberty is by becoming closer to her mother and closer to the person that her mother is, and that, to me, was incredibly funny and rewarding,' says Farmiga. However, Bertha's unrelenting drive, which was once an aphrodisiac to her robber baron husband, has become a wedge in their family. 'Ambition is my parents' love language. If they didn't both have that, they wouldn't be right for each other,' says Farmiga. 'The difference is Bertha knows what it's like to be in the body of a woman at this time, and she's looking out for her daughter and loving her in the way she can.' Farmiga also notes that Bertha can be 'such a selfish bitch' but the lofty dreams are Bertha's attempt to secure long-term security for Gladys. Playing opposite Spector and Coon is inspiration enough to land these heightened emotions. 'When I'm sitting there with Morgan, and I'm pleading with him, 'Father, listen to me.' He's there, you see it in his eyes, and he's so present,' she says. 'It's the same with Carrie. I don't think I could be luckier to have the parents that I have.' Gladys and the Duke of Buckingham (Ben Lamb) have sailed from England to attend the end-of-season ball in Newport, which Bertha hopes will show a united Russell family to prove the tabloid gossip wrong. Behind closed doors, George is recovering from an attempt on his life, and he still cannot forgive his wife for forcing Gladys to wed Hector. Larry (Harry Richardson) is equally angry toward his mother, leaving Gladys as Bertha's only ally within the family. How the tables have turned. Behind the scenes, it is far more harmonious. Quite literally, in the case of Farmiga's on-screen brother with Richardson often providing the music. 'Harry Larry [as Farmiga called her co-star] always has a musical instrument in his hand or his backpack or on his chair,' says Farmiga. The Gilded Age cast is famously bursting with theater actors, which explains the playful mood on set. 'I'm telling you this mix is unlike any other ensemble I've worked with,' she says. 'Everyone knows a true sense of camaraderie, and people are showing up to have a good time together—there's no egos.' Here, Farmiga talks to ELLE about stepping into Gladys's power, the bombshell finale, late-night antics on set, and a few daring items she'd like to see in the fourth season. I had a call with the [creator] Julian Fellowes and [executive producer] David Crockett, maybe four months before we started filming. From an actor's perspective, I was curious what Gladys was going to be up to this season. Boy, was I given a roller coaster of a ride. First reaction was 'Oh shit! I'm excited.' As an actress, it's incredible to play the roller coaster of emotions. If you look at my career, horror and genre projects are something I've done a lot of, and I love them so much because of the intensity of the emotions. Everything is so amplified by what's going on in that genre. Gladys has been living her own horror story in this season. For Taissa, it's terrible. Right now, I got that pit in my stomach when you asked me the question, because I was picturing the last fight from [episode 5]. You understand both of their perspectives, the love and pride they both have, how strong they both are, but it's hard when you see two people you know who are supposed to be connecting completely missing each other. Sometimes you have to step back and be like, 'Maybe I was wrong.' Not to speak for him, but I think George would like to even hear the words, 'Maybe I was wrong.' That's not something I think Bertha will ever, ever, ever say. As for Gladys, I'm not sure she's in the know about her parents' relationship and the distance. She was living in her own little world before she even left New York City, the self-induced prison she put herself in because she just couldn't deal with the desires and expectations of everybody around her. I think she was a bit naive about what's going on. That scene was intense to play because I came in for the last bit of it with my big reveal. Gladys comes in bursting to tell this news, and she comes face to face with her mother, who is heartbroken and crying. It's not quite the reaction Gladys expects. I think that proves that Gladys has no idea what's going on between her parents currently. From my perspective, Gladys is truly happy. She never wants to say her mother was right, but her mother was right, and she connected with the duke. She's finding a partnership. Part of the credit has to be given to George because, in the negotiations for marriage, he made the offer to give Gladys an allowance. That planted the seed for a partnership because the duke has a reason to want to connect with her, even if it starts with something as shallow as money. He's not a bad guy, but he married someone who was crying down the aisle. On a show like this, the cast is so damn big that we don't often get to work with each other. You have all these reconnecting moments, and it feels like you're a bunch of kids at summer camp, and it's super fun. The wedding was a funny experience for me because emotionally, I was in a very different place from most of the other actors. But also physically [I was in a different place]. I was wearing this wedding dress that had a 10-foot train (the veil was also 10 feet long), and the weight of the train [meant] I had no mobility. I was not self-sufficient at all. If I wanted to walk around, I had to have three members of the wardrobe department help me. Finally, they came up with a very simple solution: they got a cloth shopping bag and put the veil in that so I could walk around by myself. There was quite a bit of time when I was isolated, which worked for Gladys's mindset. Normally, it's a riot to all get together. Even so, we had some good laughs. I usually had to cut it off pretty quick when they say 'rolling,' and then go wail and cry in the corner, and then come back and be like [mimics crying], 'I'm so sorry. What were you talking about?' It's any of those ensemble scenes. We were filming the greeting line in the last episode, and someone had gotten a waffle truck or a pancake truck as a present for the crew. We're filming, it's almost 4 A.M., and if you give a bunch of sleep-deprived people whipped cream and ice cream on pancakes, the craziest antics come out. One of my favorite [things] in general, there's this dance called the Russell Bustle Dance—because you always have those big ass bustles in the back of the dress—and she [Coon] kind of gets down, and she's twerking with her bustle. Whenever Carrie starts doing that, you know that someone has given her sugar, and it is about to get crazy. Oh, my God, yes. Usually, there's bathrobes [available] that we put on backwards. It's like an apron or a baby bib to let us eat, so if we drop something [it's okay]. The costumes are one-of-a-kind, especially the gowns—you don't have backups of anything. You have to be careful, but after hours and hours of filming, there are plenty of times when we shouldn't be eating in these magnificent gowns, but also we're really freaking hungry, and Carrie just ordered empanadas. I think there was someone keeping watch to make sure no one from wardrobe was coming in, which, again, I probably was an asshole for eating in the dress. But I was so hungry, so tired, and I was so tired of crying, I was like, 'I just want empanadas.' I'm leaning over. I'm using my core strength to try my best to prevent [spillage]. I don't know if I can pick one. I was once asked, 'What was the feeling you had when you realized you were diving back into season 3?' And I was like, 'Oh, shit. Corsets.' They are kind of a pain in the ass, but they look so good that you can't complain. [Costume designer] Kasia [Walicka Maimone] and the rest of the wardrobe department are so accommodating to make any adjustments to make it as comfortable as possible. One of my favorite outfits this season was in episode 6, when Bertha comes to Sidmouth Castle, and there's the dinner scene towards the end. Gladys was previously commanded by Bertha, and now at Sidmouth, she's managed by the duke's sister. Finally, with Bertha's help, she stands up and puts her foot down, and says, 'This is my position. This is my place. You have to respect me.' There was a different dress they had put in my trailer that was waiting for me after rehearsal, and it was the first time in all of three seasons that I was like, 'This doesn't feel right.' It was supposed to be this purple, flowy dress, and it felt very much like a previous-season Gladys. It's the only time I've ever spoken up on this show. They changed it for me. They put Gladys in this amazing dark blue, lacy, kind of sexy for the period gown. I loved it so much. It's the moment that Gladys had to be a boss ass bitch. I'm so happy they let me give my opinion, and they changed it for me, because I think it made the scene. It was wild. Everyone said I should take it home. I felt so odd. I was like, 'I wouldn't be able to keep staring at myself constantly.' First off, I don't think I have a place big enough to bring this portrait home. I remember the first time I saw it was unexpectedly. We were filming in Albany. I think I was in Troy, New York, for fitting, and the wardrobe department is in an old CVS or something. I walk in, I see all these people are in a room, I stick my head in because I saw someone I knew, and I was like, 'Holy shit!' Around me, were 11 life-size portraits of me, all different sizes, to determine what size the portrait should be. My God, what an experience it is to walk into a room where everyone's staring at a giant, magnificent portrait of you. I was like, 'What is my life?' I was there to fit the wedding dress. I'm in jean shorts and a tank top, and look nothing like 1880s Gladys. The contrast was funny. I felt really cool and also just a bit observed. We're left with the cliffhanger of Gladys's new condition. I don't know if they would pick up soon after that. Are they gonna pick up with Gladys having children? That will be a total mindfuck to go from being someone who wants freedom for her mother to all of a sudden she's the mother. That would be an intense change. Otherwise, I'd love Gladys to start wearing suits, but I don't think that's in her future. That'd be fun. I'd love to see her in a different, crazy world like that. I don't think it's possible, but it'd be amazing. Imagine she walks into some gay club and is surrounded by a bunch of incredible lesbians. That'd be such a fun storyline to see. My God, I wish! This interview has been edited and condensed for clarity.

'Freakier Friday' Snuck in Surprising Easter Eggs for 'Mean Girls' and 'The Parent Trap'
'Freakier Friday' Snuck in Surprising Easter Eggs for 'Mean Girls' and 'The Parent Trap'

Elle

time19 hours ago

  • Elle

'Freakier Friday' Snuck in Surprising Easter Eggs for 'Mean Girls' and 'The Parent Trap'

Spoilers below. For many of us millennials, Lindsay Lohan was the blueprint in the early 2000s, inspiring us with her style, humor, and all-around It-girl vibes. Twenty years later, that's still the case, and Freakier Friday is further proof. The sequel pays subtle homage to a few of Lohan's projects, including 2003's Freaky Friday and even Mean Girls. She's not the only reference either; equally cool Hollywood royalty Jamie Lee Curtis, who stars as her onscreen mom, also inspired some surprises in the film. Below, we're rounding up all the Easter eggs we found in Freakier Friday, from shoutouts to the original film to other hidden treats. The movie's director Nisha Ganatra even walks us through some of the fun cameos. Anna (Lohan) uses the same red electric guitar she played in the original film, Ganatra confirms. 'We got it from the first movie, so she was [using it] in her fantasy sequence in the opening of this one,' the director explains. You see Lohan shredding in the dream sequence at the top of the film. The instrument appears in the final performance scene as well. This one's not a Freaky Friday reference but a nod to another film in the Lindsay Lohan cinematic universe: Mean Girls. Fans may remember the iconic quote, 'On October 3rd, he asked me what day it was. '…It's October 3rd.'' Funnily enough, so-called Mean Girls Day is the same date as Anna's wedding in Freakier Friday. During a scene where she looks at the calendar app on her phone, her wedding is scheduled for October 3. Lohan told Collider that it was a total accident. 'I genuinely don't think anyone realized it,' she said, until the date was printed on the invitations for the film. 'Because it was one of the first days shooting and I was like, 'Does anyone realize this is October 3rd? That's Mean Girls Day,'' she added. But Lohan was cool with it. 'I was like, 'Let's leave it, it's an Easter egg.' And Nisha was like, 'We're not doing Easter eggs.' I'm like, 'Well, you did!'' she recalled. The beginning of the film contains a montage of Anna trying to wake up her daughter, Harper (Julia Butters), to get ready for school—much like Anna's mom, Tess, did to her in the original film. But instead of trying to pull her out of bed from the ankles à la Freaky Friday, Anna gives gentle parenting a try, knocking on Harper's door multiple times to get ready. Harper's door is also covered in posters, like Anna's teenage bedroom door. While dropping her daughter off at school, Anna calls after her from the car, 'Make good choices!' It's the same line her mother said to her while taking her to school in the first film. Tess gives her a knowing look, clocking that her daughter has followed her lead. In another reference to Lohan's iconic repertoire, Elaine Hendrix, who played Lohan's would-be stepmother in The Parent Trap appears in a Freakier Friday scene. She's on set during a photo shoot for Ella, the pop star Anna manages. Ganatra told ELLE how that moment came to be: 'The fun call I got to make was, we were filming a scene, and I really wanted Elaine Hendrix to make an appearance. I called Elaine, and I was like, 'Would you please do a cameo?' And she just came out and did that. I was doing my fantasy version of this movie, hoping anybody else would catch on to all the little Easter eggs of Parent Trap and Mean Girls. It's a little bit ode to Lindsay's [filmography]. Elaine's character is named Blake, so little things are hidden in there.' A couple of years ago, MUNA dressed up as the members of Pink Slip during a Halloween show and covered 'Take Me Away.' In a full-circle moment, they appear in Freakier Friday as the pop star Ella's (Maitreyi Ramakrishnan) band. They perform with her during her show at The Wiltern. (Funny enough, that's where MUNA performed the Pink Slip cover too.) 'We just sort of filled [this movie] up with all the fantasy star players that we could," Ganatra said of the band's inclusion. In Freakier Friday, Anna (who has body-swapped with her daughter, Harper) and Tess (who has switched with her future step-granddaughter Lily) find Jake (Chad Michael Murray) at his record shop. Tess tries to hide while Anna talks to Jake, covering her face with a number of different vinyls, from Sade to Madonna. The last one she holds up is Britney Spears, a nod to '...Baby One More Time' in the first film. In Freaky Friday, Tess (who's really Anna on the inside) bonds with Jake at a cafe as they talk about music. When a rock cover of '...Baby One More Time' (performed by Bowling for Soup) plays on the speakers, they bond over their love for the song. Ganatra credits Curtis for the clever reference. '[Jamie's] the one who, brilliantly, was like, 'Britney should be for the end. When Lindsay's flirting with Jake, I should be hiding behind Britney,'' she said. It turns out, Jake gets invited to Anna's wedding with a plus-one. During the final scene, as she's walking back down the aisle, she and Tess find Jake in the crowd with a woman who looks just like Tess did in the original film—printed dress, short pixie cut, and all. "[We] were like, 'Oh, Chad's going to be in town [while the wedding scene is shooting], so let's put him in the wedding,'' Ganatra recalls. 'I was like, 'What if he has a girlfriend that looks like Jamie's character from the first one?' And Kristin [Burr, a Freakier Friday producer] thought that was hilarious. So she was like, 'I'm going to get the dress.'' Jake says there's just 'something about her,' though he can't put his finger on it. It's a silly little bit, but I for one am glad we're all ready to admit Jake and Tess had better chemistry than he and Anna did. But perhaps that's a story for another time. Freakier Friday brings a number of sequences and characters back from the first film, and while they don't really count as Easter eggs, but they're still fun little parallels. For example, Anna is preparing for a wedding just like her mom was in Freaky Friday. Pei-Pei (Rosalind Chao) and her mother return at Anna's bachelorette and wedding, though this time their magical fortune cookies are not the reason for the body switching (the first film's portrayal of Asian stereotypes was a little problematic). Instead, a fortune teller played hilariously by Vanessa Bayer accidentally causes the supernatural swap, which is still marked by an earthquake. Mr. Bates (Stephen Tobolowsky), Anna's mean teacher from Freaky Friday, returns in the sequel to wreak havoc on her daughter's life. And in a callback to one of the first film's most iconic scenes, Anna (who is still swapped with her daughter, Harper) goes onstage for a Pink Slip performance but is once again without her guitar skills. Harper (who is really Anna on the inside) sneaks to the back of the stage, ready to play to cover up for her mom. But instead of hiding Harper in the background, Anna brings her out to stage to perform together. With all these little shoutouts, Freakier Friday pays homage to its roots and plays up the nostalgia, while still forging its own path at the same time.

ITV presenter says ‘I don't know what I did wrong' after game show cancellation
ITV presenter says ‘I don't know what I did wrong' after game show cancellation

Yahoo

time19 hours ago

  • Yahoo

ITV presenter says ‘I don't know what I did wrong' after game show cancellation

Former Emmerdale star Adam Thomas has been left confused by the cancellation of his ITV game show. The channel has axed its series 99 to Beat, which premiered earlier this year, with Thomas stating: 'I don't know what I did wrong.' Thomas, 36, who played Adam Barton in Emmerdale until 2018, presented the series alongside his brother, former Coronation Street star Ryan Thomas. The format saw 100 players whittled down over numerous games in a bid to win a £25,000 cash prize. News of the show's cancellation was revealed by Adam on his podcast Mancs on the Mic, where he admitted he was blindsided by ITV's decision. 'When I am positive about something, it gets cancelled,' he said. 'Like I did one series of [I'm a Celebrity spin-off] Extra Camp – got cancelled. The next presenting job I did was with Ryan – 99 To Beat – and that's got cancelled.' ITV confirmed the news to The Independent, but has not given a specific reason as to why the show was axed – despite it being 'one of the biggest entertainment launches this year' across all of its channels and streaming platforms. 'It reached 12.5 million viewers and was streamed over four million times on ITVX,' a spokesperson said, adding: 'The Thomas brothers are fantastic presenters, but unfortunately at this stage, we will not be recommissioning.' The 99 to Beat format originated in Belgium and has been adapted in 12 territories. The UK version aired in March 2025. Another show that received the axe this week after just one series is the critically acclaimed BBC drama This Town. Created by Peaky Blinders writer Steven Knight, the drama is set in the West Midlands during the 1980s and focuses on a group of young people who immerse themselves in the region's burgeoning music scene amid a backdrop of social unrest. However, despite strong reviews and winning Best Single Drama or Limited Series at the Royal Television Society Programme Awards in March, the show's run has been cut short. In a statement given to The Independent, a BBC spokesperson said: 'We're hugely grateful to Steven Knight and the cast and crew for bringing This Town to life – in no small part due to ­Steven's passion for the West Midlands.' Solve the daily Crossword

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store