Mindy Kaling Embraces Floral Artistry in Khoon Hooi Look at the Las Culturistas Culture Awards
Kaling's attire for the evening featured the calla lily-inspired strapless bodice and coordinated miniskirt. The ensemble took both structural and motif influence from the delicate botanical, featuring a calla lily appliqué on the bodice of the ensemble. The white bodice featured a sinuous design, with shimmering silver lines and a peplum element evocative of flower petals. The skirt of Kaling's ensemble featured a soft pink tone, which complemented the floral appliqué on the bodice, and a mini hemline.
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Kaling added a pair of peep-toe heels to her attire. The 'Running Point' creator accessorized her attire with morganite deco earrings and Galle lights courtesy of B.P. de Silva. Kaling's hair was styled in the trendy side-part by Becca Mader, with makeup featuring bold brows, lined eyes and a glossy lip by Alyssa Johnson.
Khoon Hooi was founded in 1999 by Malaysian designer Lee Khoon Hooi. The label features luxury occasionwear with collection for fall and spring seasons and capsule for Lunar New Year. Lana Condor, Chelsea Handler and Sofia Carson are among the high-profile figures who've styled pieces from the designer.
Kaling is no stranger to styling floral motifs. At the 2025 Gold Gala in May, the actress, writer and producer wore a strapless, pastel-tone gown with a floral motif by Indian designer Anita Dongre.
Kaling wasn't the only attendee at the Las Culturistas Culture Awards to style shades of soft pink. Lisa Rinna attended the event in a satin corset dress with a strawberry volume silhouette with a Mao collar.
Construction details for Rinna's soft pink look included an integrated corset designed with tonal topstitching to cinch the waist, and a center-front zip opening with a gold-tone metal mouth signature zip puller.
Las Culturistas Culture Awards 2025 Red Carpet Arrivals: Quinta Burnson, Lisa Rinna and More Celebrity Style
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Launch Gallery: Las Culturistas Culture Awards 2025 Red Carpet Arrivals: Quinta Burnson, Lisa Rinna and More Celebrity Style
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7 hours ago
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CEO TALKS: Tim Little of Grenson on the Power of Retail, Potential Investors and Keeping a Heritage Footwear Brand Alive
LONDON — The British brand Grenson is one of the few traditional shoemakers left in the U.K. and it has survived the stormy weathers of an industry that's become perpetually saturated. As the brand prepares to celebrate its 160th anniversary next year, chief executive officer and creative director Tim Little has been oiling the machines, from a rigorous retail strategy to concise wholesale model. Since joining the business in 2005, Grenson has sold more than a million shoes and projected approximately 10 million pounds in revenue with a 15 percent growth year-on-year. More from WWD Boots to Open Stand-alone Fragrance Store The Nomasei Loafers Loved by Bella Hadid, Nicole Kidman, and Blake Lively Are Finally Back in Stock White House Confirms 19 Percent Shoe Tariff Rate With Indonesia: Are China, EU, Cambodia Next? Wholesale makes up 20 percent of the business, while retail accounts for 20 percent and e-commerce trumps both, at 60 percent. A large number of Grenson's business comes from the U.K., in cities such as London, Birmingham, Manchester, Leeds and Glasgow. North America is the brand's second largest market, followed by Europe and Japan. 'One thing that I'm disappointed in since I took over the business is that I haven't been able to do more in Japan, maybe because we haven't focused enough on it,' Little said. 'But America has become a big and very important market for us.' Little started pulling back Grenson's distribution after the complexities of the COVID-19 pandemic. The brand now works with a handful of stockists including Harrods, Selfridges, Liberty and Mr Porter. Despite Grenson's rich history, its core demographic of 35- to 50-year-olds is still fairly young and hasn't been afraid to experiment with new ideas — the brand introduced a women's collection in 2011 and collaborated with fashion companies ranging from Craig Green, Emilia Wickstead and Belstaff to YMC. Here, Little talks about keeping a heritage brand alive, why retail is gold for Grenson and his decision to finally take calls from potential investors. WWD: What made you join Grenson in 2005? Tim Little: I had my own brand called Tim Little and we had a shop on the King's Road. I used to sell to Harrods and Selfridges. When the son of the previous owner of Grenson took over the business from his father, the business was struggling really badly. He asked me if I'd come in and get involved to try and turn it around. WWD: What role did you take on at the brand? T.L.: I came on as CEO from Day One and the really big dilemma for me was leaving my own brand behind — but I didn't. I ran the two side by side. My brand was fairly small and easy to manage, but I cut it right back and I stopped doing wholesale. I fell in love with Grenson as soon as I got there. WWD: When did you close your brand? T.L.: It wasn't until COVID-19 because the Grenson showroom was above my store, where I had a manager and would see customers. Once the pandemic hit, it made it impossible and I thought it was the right time to call it quits. It felt absolutely right to focus on Grenson and maybe come back to do shoes with my name on them some other time. It was a big decision and I should have made it quite a few years before, to be honest. WWD: You purchased Grenson in 2010, what did you see in the brand to take this big step? T.L.: All of the stuff that was already there when I joined in 2005: the heritage, the people, the history and products. Over my [first] five-year period, we put in products that made the brand more contemporary. By 2010, the brand's owner wanted to sell the brand. We had redone the tone of voice for Grenson and changed the collections completely. I just thought, I've done five years of hard work here to get it to a position where we married this lovely heritage with a modern attitude and business principles — I don't want to walk away from that now. I would have had to prepare the business for a sale and in a way, he had left me alone to run the business. So I asked him if he would sell it to me if I could afford it. It wasn't easy, but we worked out a way of doing it, which was based on him helping me to buy the business. And it meant he didn't have to go into a big process because I knew the business really well. WWD: What were the big changes that you made in the first five years as CEO? T.L.: The most important thing was overriding the culture, which was just about manufacturing shoes and not connecting with the rest of the world. I wanted the culture to become: What do people want? What are people wearing? What are they looking for? What do they want the brand to be? How do you tell the story? Within the collections, it was about revamping everything and keeping probably five or six styles that were traditional. We created collections that looked at different shapes, patterns and materials, which made it relevant to buyers from department stores. After getting the shoes right, we thought about how to tell the story of the brand. We're not a museum of footwear and we're not going to have hundreds of pictures of old men with little half moon glasses knocking nails into the shoe all the time. WWD: Were you prepared for the role of a CEO? And what's your leadership style? T.L.: At Grenson, we do manufacturing, marketing and sourcing, whereas my own business was much simpler. I had to deal with the sales and marketing teams in London, but at the same time, I had to work with people on the other end of the scale in the factory with completely different types of attitudes and outlooks. Managing all these different types of personalities was an enormous challenge for me at the beginning. I believe in a big way in delegating, but before you can delegate properly, you've got to have the right people in the right jobs and you've got to always play to people's strengths. In a lot of businesses, they tend to force people to do things that they're not particularly good at or don't enjoy. But with that comes a responsibility of listening to people and looking out for what their issues are. WWD: What are the pros and cons of owning a brand? T.L.: The pros are control over the vision of what you want to do without having to explain it because it's not until you actually do it and get it out there that you can see what you had in your mind. Being the brand owner, you can just go straight to that point and if it's wrong, we tried it anyway as opposed to having to always persuade a committee of people before you can do anything. Everything's much quicker when you don't have to report upward. A brand like us has to be fast moving because it's the only chance we've got against the big brands. The downside is the level of responsibility that you feel toward people because they've got families and mortgages. They've got a whole life that relies on this business to a certain extent and they rely on me running the business properly so it doesn't go bust. There's also all the classic stuff about money. You have to deal with the bank manager and all the stress of cash flow and people's salaries. WWD: Have you ever considered partnering with external investors to scale the business? T.L.: We have always been 100 percent independent but often get approached by potential investors. This year for the first time I have decided to start talking to people in case there is a perfect partner to help us fulfill our true potential. I've always wondered how much more we could achieve if we were part of something bigger and had more support. WWD: The shoemaking and footwear market has become so saturated, how do you maintain your position without straying away from the heritage? T.L.: It is much more difficult than when I first started in shoes when a lot of the big brands didn't really have big shoe collections. They'd have a few here and there that just complemented the clothing collections. Now couture houses are recognized for their shoes more than anything else. The whole market is completely saturated and to stay ahead all the time, you have to constantly be relevant, make noise and create a story. At Grenson, we're not just selling a pair of shoes to somebody, we're creating and selling stories about the type of shoe, the leather and where that came from our archive. WWD: How much of your time is spent designing shoes and being creative versus running a business and dealing with numbers? T.L.: Not enough, and that's my big bugbear. Although I love business and I read a lot of articles about businesses and how they're run, I would like more time on the creative side. I spend 15 to 20 percent of the time working on the collections and the rest of the time on the business side, but I've got a very good team that I've worked together with for a long time now. When I have a thought or an idea, they're very good at interpreting that. WWD: Do you enjoy making traditional shoes or trainers more? T.L.: I love all of them, but I absolutely love trainers. In my previous life before shoes, I was in advertising and I ran Adidas advertising for four or five years. The Gazelle is one of my favorite shoes of all time. WWD: How do you maintain creativity without getting in over your head, and how do you stay disciplined? T.L.: Every business is the same, where the designer has an idea for something that they think is the most incredible thing in the world, but it has to be commercial and it has to sell, otherwise the business won't survive. As I run the business, I have the commercial side in my head more than most designers would. The deciding factor is about what's right for the brand and if a shoe feels like Grenson. The discipline comes back to the responsibility that if it doesn't work — and there's all this competition out there that's hard to keep up with — then it's a disaster. It comes from looking at the numbers all the time and seeing what's selling, but also pushing against the business because I know what happens if you stall the creativity in any way — the business becomes very boring very quickly in a way that it didn't used to in the old days because of social media and all this communication. WWD: How did you propel Grenson into wholesale and what approach did you take? T.L.: When I got to the brand, I asked the sales director at the time to give me a list of all the stockists. I went through it and said, 'This isn't complete, there is nothing in London.' He told me our only stockist in the city was a shoe repair shop. The first thing we did was to sell to Selfridges, Harrods and Liberty. I felt it's really important to have a physical presence in London to have real credibility, and London does drive the market. WWD: How has your own retail presence expanded since then? T.L.: We had a store in Soho and another on Liverpool Street, Hanbury Street in Spitalfields and Lamb's Conduit Street. We closed the stores in Soho and Liverpool Street during COVID-19, but we opened a Soho store on the same street — Meard Street — last year. I'm looking for more stores because retail really bounced back for us in a big way. Over the last 18 months, retail has been really, really strong and it's growing. WWD: What's a key factor in the Grenson retail experience? T.L.: There needs to be an atmosphere in the store so people are happy to stay and spend time because it's one thing you can do in store that you can't do online: sit down, try things on and ask questions. What I don't like is when you go into a store and they want to sell you something and get you out. The people in the store need to be knowledgeable. It's a product you're spending a lot of money on so you need to feel comfortable that that money is well spent. WWD: Who are your mentors in business? T.L.: Paul Smith [is one of them] because he comes from a village about two miles from where I come from in Nottingham. He's always been really good to me and really supportive. Outside of fashion, I'm obsessed with Steve Jobs and his creativity and drive. WWD: Do you have any business mantras? T.L.: I have a life and business mantra, which is just keep going. If you've got the right principles and you're on the right track, just keep getting up every Monday morning, come into work and get on with it. Do it again and again — it works and it's hard, but it's the only way you know. WWD: What do you do during your spare time? T.L.: I love London because of all the shows and galleries. My wife and I are constantly trawling through the papers for what's on. We've also got a place in the countryside and that's a completely different thing — [sometimes we sit by] a fire or walk by the river. I'm also a big football fan. I support a team called Derby County, which is a bit embarrassing, but my son and I are season ticket holders, so we get the train to Derby every two weeks. WWD: Does he work in the family business? T.L.: He does at the moment because he wants to be an actor and a writer. He's working in the Hanbury Street store. I've told his boss to treat him like anybody else, or even be harder on him. Outside of work, he's a normal 24-year-old in many ways, but at work he feels quite invested because it's important to him because it's a family [business] and he's grown up with it. He tells customers about the behind-the-scenes story of the shoes. He will say stuff like, 'This shoe came about because Tim Little was on holiday and he saw this old Spanish shoe on a beach and he picked it up.' He tells those stories because he feels quite engaged [with the brand and business]. Best of WWD All the Retailers That Nike Left and Then Went Back Mikey Madison's Elegant Red Carpet Shoe Style [PHOTOS] Julia Fox's Sleekest and Boldest Shoe Looks Over the Years [Photos] Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
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13 hours ago
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Riyadh Fashion Week Calls on Saudi, International Designers to Join Official Show Calendar
RIYADH CALLING: Riyadh Fashion Week is finalizing the official calendar for its third edition, and appealing to fashion houses in the Kingdom of Saudi Arabia, and internationally, to apply for a space by July 15. Riyadh Fashion Week describes itself as a curated platform for emerging and established designers, and said the audience is filled with global industry leaders, buyers, press and tastemakers. More from WWD The Best Amazon Prime Day Fashion Deals on Our Shopping Editors' Summer Style Mood Boards The Best Nordstrom Anniversary Sale 2025 Fashion Deals to Shop With Major Early Access Discounts Today The Best Swimwear Brands That Fashion Insiders Always Pack for Summer Vacation 'This is more than a runway,' said Burak Cakmak, chief executive officer of the Saudi Fashion Commission. 'It is a statement of creative identity, innovation and ambition. Riyadh Fashion Week provides a high-impact opportunity for designers to tell their story on a global stage.' The organization said the upcoming edition will continue to spotlight 'the creative breadth of Saudi fashion while building meaningful bridges with international fashion markets.' In past years, the official calendar has featured a broad spectrum of brand activations. Organizers said that in addition to runway shows, participating brands can explore curated presentations, showroom exhibitions, trunk shows, retail pop-ups, creative takeovers, private dinners and immersive fashion experiences. 'This multiformat approach ensures that both emerging and established labels can present their collections in ways that reflect their identity and strategic goals. Whether targeting buyers, press or direct-to-consumer audiences, the calendar is designed to offer brands flexible and high-impact moments throughout the week,' organizers said. Saudi-based and international fashion brands across ready-to-wear, couture, menswear and streetwear categories are eligible. Organizers said designers selected for the upcoming edition will receive the support of a 'world-class production and communications team, ensuring every presentation is delivered with international standards in mind, from show production to media coverage.' Applications can be made on the Riyadh Fashion Week website. Best of WWD Why Tennis Players Wear All White at Wimbledon: The Championships' Historic Dress Code Explained Kate Middleton's Looks at Trooping the Colour Through the Years [PHOTOS] Young Brooke Shields' Style Evolution, Archive Photos: From Runway Modeling & Red Carpets to Meeting Princess Diana Solve the daily Crossword
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14 hours ago
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How Geri Halliwell's Union Jack Dress Inspired a Generation of Pop Stars and Patriotism
Geri Halliwell's Union Jack dress has left its mark as a sartorial moment to remember in pop culture history. The original Spice Girls member's mini frock struck a cultural chord and quickly became a statement-making piece for other pop stars to follow. The dress, featuring the Union Jack flag, is tied to the United Kingdom's history. Originating in 1606 as the flag that represented both England and Scotland, the design was reimagined in 1801 as the current red, white and blue symbol, with the addition of the St. Patrick's Saltire. More from WWD Barbie Creates One-off Doll for Type 1 Diabetes Advocate Lila Moss How Celebrity Beauty Brands Are Doing in 2025 Dua Lipa Goes Avant-garde in Keyhole Cutout Dress for Schiaparelli's Fall 2025 Couture Show in Paris In the 1970s, the Union Jack was incorporated as a style motif for several British punk bands. The design was used through sartorial messaging, a subversion of the flag. In the late '90s, however, Halliwell's fashion statement repurposed the Union Jack symbol. Halliwell (also known as 'Ginger Spice') wore her Union Jack minidress at the 1997 Brit Awards, where the Spice Girls performed. 'There's different layers to this story,' Halliwell told Drew Barrymore on the actress' eponymous daytime talk show in April 2025. 'There's a flag; that, for me, was taught by America. You guys taught me about being proud, being patriotic about your country. At the time, it was the Brits and I thought, 'I really want to celebrate being British,'' Halliwell recalled. 'I remember [my] stylist at the time said, 'No, no, no. Be more modest.' So I went, 'No, absolutely not.'' Halliwell explained to Barrymore that the original dress was actually a 'black Gucci stretchy dress' that had been gifted to her. 'It's really corseted. It's like an old swimming costume…like a '50s swimming costume.' Halliwell stitched a tea towel with the Union Jack on top of the Gucci dress. 'I'm not very good at stitching but I'm good at the idea,' Halliwell confessed. Halliwell's sister helped sew the tea towel onto the dress. What happened to Geri Halliwell's Union Jack dress? Halliwell's Union Jack dress was sold at auction by Sotheby's in September 1998 to Hard Rock Café cofounder Peter Morton for roughly $70,000, as reported by the BBC. The auction served to raise funds for the Sargent Cancer Care for Children. In 2007, designer Roberto Cavalli made a new version for Halliwell to wear during the Spice Girls reunion tour, designed to resemble the original but with rhinestones and Swarovski crystals. In 2012, Halliwell designed a clothing line inspired by the dress, which she revisited again for the 2019 Spice World tour. The Union Jack dress in pop culture Decades after Halliwell popularized the Union Jack dress, pop stars are still inspired by her fashion statement. Dua Lipa added a Union Jack kilt skirt by Vivienne Westwood, featuring pleating and a punk style aesthetic, to her performance attire at the 2021 Brit Awards, paying homage to Halliwell's iconic sartorial moment at the awards show from more than 20 years prior. Taylor Swift wore a Union Jack-inspired ensemble when she performed at the Victoria's Secret Fashion Show in 2013. Rita Ora also wore a Union Jack-inspired look for her performance at the Fashion Rocks 2014 event in New York City. The Union Jack dress on the runway The Union Jack also made its way onto the runway. Before Halliwell's Union Jack minidress moment in 1997, Kate Moss modeled a jacket inspired by the flag as part of John Galliano's 'Olivia the Filibuster' spring 1993 ready-to-wear collection. A Union Jack minidress, among other designs, was also featured as part of Jean Paul Gaultier's Paris Fashion Week fall 2014 ready-to-wear collection show in March 2014, harkening back to the punk style sensibility and subversion of the '70s. 'The overall takeaway: Austin Powers meets Sid Vicious. A disconnect, yes, but perhaps deliberately so. After all, one of the few places the two could coexist would be on a fictional space odyssey with JPG as pilot,' an excerpt from WWD's review of the collection read. Ashish's fall 2011 fashion show also featured a Union Jack sweater vest. 'Wannabe' Turns 25: Looking Back on the Spice Girls' Success View Gallery Launch Gallery: 'Wannabe' Turns 25: Looking Back on the Spice Girls' Success Best of WWD 23 of the World's Most Expensive Handbags: Jane Birkin's Original Hermès Bag, Chanel's Crocodile Skin Flap Bag and More Brands With the Power of the Purse 'Project Runway' Winners: Where Are They Now? Superfake Rolexes Are Getting Smarter: How to Spot Counterfeit Timepieces in the Luxury Watch Market Solve the daily Crossword
