HL: The intent is to create something memorable, joyful and interesting. We share references, I search words in Pinterest, and we build up a narrative of images. We send these images to a brand, for example, Miu Miu when we are creating a custom red-carpet look with them. We’ll say: “We love this colour, or we love this runway look from 1998, or this blue dress Chloë Sevigny once walked in. Can we combine them together?”
EC: If people see a message behind my red-carpet looks, I think that it is because they come from a very authentic place of who Harry and I are as people. There’s a power in that that people recognise.
NP: In terms of red-carpet style, how do you work to get the perfect mix of different looks and labels? Do your looks develop easily or do they take a lot of back and forth?
HL: I can’t claim responsibility for Emma’s personal style at all. Emma is very good at dressing themselves!
EC: It’s so funny, sometimes fans or people I don’t know think that if you have a stylist they’re getting calls every morning with me asking: “What shall I wear today?” I’ve always really loved fashion in terms of self expression. I think maybe it comes from being observant and a people watcher and looking at how people present themselves and want to appear to the world. I’m really fortunate to have the opportunity to experiment with fashion. It’s really given me the chance to explore my identity through clothing and I’m really interested in how that has changed and shifted year after year. I’m also always amazed at the scope of Harry’s style radar – like working with young designers who have barely graduated from Central Saint Martins and not just major fashion houses. I think some of the most original work is coming from those places.
HL: Emma has worn smaller brands like Knwls, SS Daley, Harris Reed, Marco Ribeiro and Ernest W Baker. These pieces – like an Ernest W Baker men’s suit – they don’t feel like costume, they feel authentic, like pieces Emma really owns or would own.
NP: Do you ever feel a pressure in terms of pushing the boundaries of red-carpet fashion?
HL: It comes from the place of not wanting to do something too traditional. I think some of the most memorable red-carpet moments come from when people take risks, like Björk’s swan dress or Celine Dion wearing a white blazer back to front. They can feel camp, surreal and silly. I think it’s those moments that make people stop and think about challenging dressing norms. Someone like Tilda Swinton has been doing this on the red carpet forever. I think we’re in a moment now when people take risks. Red-carpet style is seen as something to celebrate even if it doesn’t always 100 per cent land in the right place. It’s about flexing your styling muscle. For me, it feels like having a page in a magazine, but it’s on the red carpet.
EC: The nature of the red carpet is really terrifying. It’s an uncomfortable experience. You’re on show and facing hundreds of cameras and eyes on you. It’s very anxiety-inducing and stressful, something made ten times worse if you’re wearing something you don’t feel comfortable in. With Harry, I’ve never felt uncomfortable. Wearing something fun and playful is so helpful in making the red carpet a better experience.
NP: Do you ever read the reception on social media or in the tabloids?
HL: I think sometimes the tabloids are almost quite excited about what Emma is going to be wearing. They always have a quirky headline ready.
EC: We giggle about it if someone doesn’t get what I’m wearing… it’s always quite funny. Headlines are often written in hilarious ways, like: “Emma Corrin wears fish.”