As Colorado Reopens, One Boutique Owner Is Nervous — But Prepared

Like a majority of states, Colorado has been under strict stay-at-home orders for the last five weeks, put in place to prevent the spread of COVID-19. But as of May 1, retail stores and personal services were given the green light to re-open — as long as they were “implementing best practices,” per Colorado’s official website. 

While, on the surface, this is great news for small businesses who have been struggling to stay afloat since being forced to close their doors, it’s not that simple. Max Martinez, the owner of Colorado-based luxury clothing store Max Fashion, says he felt conflicted upon hearing the news. Some of the questions that came up: Is it too soon for shops to reopen? How can they reopen safely? Can they survive at all if they don’t reopen now?

Over the last 35 years, Martinez has built a small fashion empire in the state. He currently owns and operates three store locations in Aspen, Boulder, and Denver, each of which carries exclusive pieces by luxury designers like Bottega Veneta, Loewe, Celine, and The Row. “I’ve been through every up and down, surviving recessions and difficult times. But this definitely caught us by storm,” Martinez tells me over the phone ahead of the Denver location’s reopening on May 9. 

“There are so many things to be worried about,” he says. “During times like this, your mind goes crazy, thinking constantly that you’re going to go out of business and worrying about how you’ll take care of your team if that happens.” With all but two of his 16 employees having been with him for more than 11 years, Martinez says that maintaining his team was of the utmost importance for him. To ensure that no layoffs had to be made, he gathered everyone at the first sign of lockdown to discuss a plan of action. “I basically said, ‘Okay, how are we going to make this happen?’ and went from there,” Martinez says. At that first meeting, new procedures and strategies were put in place, including safely delivering orders by hand and finding ways to connect with customers and vendors digitally.

“Everything that we were scared about, we turned into a positive,” he says. Prior to the lockdown, his store was wholly reliant on brick-and-mortar sales. With all three of his store locations closed, though, Martinez had to get creative: “I sat down with my marketing director because we were admittedly a little slow to the party with Instagram and our e-commerce website. This got us to go to the next level of workflow.” 

Since then, the brand began hosting Instagram Lives with designers, communicating with customers to find out what they want from Max Fashion during this time, and having meaningful conversations with vendors. “I have vendors that I’ve dealt with for 20 years, and all we do is say hello and goodbye every few months. Now we talk on the phone daily. There’s so much more communication going on.” Max Clothing additionally launched #WeAreOpen, an Instagram campaign created to build a community and highlight local businesses that “are making a difference in Denver and across Colorado, whether it’s a restaurant, a gallery, whatever.” 

But of course, it hasn’t been an entirely seamless experience. “For as positive as I’m being, I have nights where I sit up and think, Holy shit! I worry about reopening but also not reopening,” Martinez says. “I want us all to be safe.” With that in mind, opening with an appointment-only format felt like the best option to ensure the safety of both his employees and customers. 

“I’m scared, but I’m also ready,” he says about the reopening. “We haven’t had business and, while we were able to cover our bills with the home deliveries, there are other financial burdens to think about … Of course, there’s excitement, and it’s nice to see people walking around, but also scary at the same time. I’m scared that we will be shut down again.”

In terms of other safety precautions, the Denver store will only have one employee working at a time, employees will be required to wear masks at all times, and an industrial cleaning service will clean and disinfect the space on a nightly basis. “For the most part, everyone else, from our marketing coordinator to the store manager, will continue to work from home,” he adds.

As for plans to reopen his other two store locations and allow walk-ins again? “That’s in the future. For now, we’re taking everything day-by-day.”

COVID-19 has been declared a global pandemic. Go to the CDC website for the latest information on symptoms, prevention, and other resources.

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Valley Girl Remake Features The Best — And Funniest — ‘80s Fashion Trends

The early ‘80s were a polarizing time for fashion, with trends ranging from what we would now consider comeback-worthy — socks with pumps, matching sets — to tragic — pastel polos with double popped collars. All these and more are present in Valley Girl, a musical remake of the beloved 1983 Martha Coolidge film of the same name.

In the film, available on demand, we see an adult Julie (Clueless’ very own Valley Girl, Alicia Silverstone) telling her daughter (Camila Morrone) the story from her youth — when she, an eighties San Fernando Valley high schooler (Jessica Rothe), fell for Randy (Josh Whitehouse), a punk musician from “over the hill.” What follows (style-wise) is an explosion of pastel knits, spandex, and acid wash denim as loud as the musical numbers set to Go-Go’s “We Got the Beat” and Men Without Hats’ “The Safety Dance” in a mall and roller skating rink, respectively. Yes, it’s, like, totally awesome.

“When people think of the ‘80s, there’s like an amalgamous idea of what it is — big shoulder pads and neon — but it is so nuanced,” says Maya Lieberman, the costume designer behind the remake. “I started by looking at the ‘80, ’82, ’83 yearbooks from the Valley, and then photographs from the punk scene from that era in Hollywood, but also New York and London. [When it comes to research,] I like the photographic element more so than entertainment because it’s like heightened reality. So if we wanted to heighten it ourselves, I wanted it to start from a realistic base.”

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Staying authentic to the time period was not an easy feat. Not only did Lieberman need to create 30 looks for Rothe alone, but she also had to coordinate her character’s sherbet-hued getups to those of her best friends (played by Ashleigh Murray, Chloe Bennet, and Jessie Ennis) — and then to the background dancers for the big musical numbers. “The logistics of having four lead actresses who all need to sort of coordinate … They have to look good together as a group, match, but also be specific to their character,” she says. “And then on top, you have scenes with hundreds of background [dancers], all in head-to-toe period clothes… It was massive amounts of work.”

Lieberman says that she started by sourcing costumes from rental houses. But with a lot of ‘80s projects going on at the same time as the filming of Valley Girl, she says she was left with limited options. “After our first trip to the costume house, we had to be like, ‘We are going to have to think outside the box here.’ Plus, I didn’t want to use stuff that had been already in shows,” she says. 

While she used some of those pieces to outfit the extras, she chose the looks for the main actors by silhouettes. “I would find shapes that I liked that felt authentic to the character and time period, and then I would source the fabric and sometimes knock them off or re-imagine them and make them from scratch,” she says. “Maybe they were things I rented or bought at a thrift or vintage store, but the quality wasn’t good, because these are 35-year-old clothes! And our main girls, they don’t wear ratty clothes — their clothes have to look new. But if you’re buying clothes that are actually from the ‘80s, they’re mostly shredded.”

It’s fitting that Lieberman designed so many of the clothes: In the remake, Julie is an aspiring designer who hopes to go to the Fashion Institute of Technology. This becomes quickly apparent during a costume party scene, in which Julie makes her own version of Madonna’s VMAs “Like A Virgin” look, while her friends dress as Princess Diana, Dolly Parton, and Jennifer Beals in Flashdance. 

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Lieberman created the Madonna look from scratch after being unable to find anything from the time period that had a “cute, dreamy quality” that she felt Julie would have wanted. For the Lady Diana pink suit, she found the hat and shoes first. “I [then] bought the suit in Downtown L.A. at The Santee Alley [flea market] at a place where they sell a lot of church suits and hats. I remember finding the suit which I thought was a perfect color, and then we modified the collar, and the sleeves, and the skirt to be a more ‘80s Lady Di look.” As for Dolly Parton Western look? “That was like, ‘Let’s find a cute look of Dolly.’ We wanted it to read [on the screen] right away, so we wanted a Western shirt. There is a rental place called Palace Costume where they have archival pieces that are just incredible. I got some of the more special pieces from there.”

In a delightfully kitschy aerobics dance scene, the film zeroes in on possibly the most cringe-worthy trend of the ‘80s: leotards, paired with neon tights and leg warmers. Lieberman knew that she would have to find new pieces to put on the actors, with no workout clothes from the era being able to withstand the years on a shelf. “There is a vintage store in Long Beach called Meow, and it was one of my first stops when I got the job because it has a lot of deadstock, meaning there are things from the actual time period that are new,” she says. “I called and asked if [Meow owner Kathleen Schaaf] had any leotard deadstock, and she had a box, and we used a lot of that. We also made some leotards ourselves from some great fabric we found. There are some places that still will sell the great high-rise, shiny pink tights, so we kind of pieced it all together.” The result was a perfectly coordinated kaleidoscope of teal, fuchsia, and pink, all wrapped with elastic headbands and scrunchies, and set to a mash-up of “Material Girl,” “Just Can’t Get Enough,” and “Tainted Love.”

As Randy introduces Julie to L.A.’s punk scene, her wardrobe starts to transform from one primarily made of baby pinks and blues to one featuring black pieces and leather detailing. “This emotional journey through the costumes was intentional, and something that [Valley Girl director] Rachel [Lee Goldenberg] and I discussed at length and mapped out through the course of the script. We did a costume breakdown, and then I started showing where I would start implementing a change,” Lieberman says. “Like she’s leaving this Valley Girl behind, and she’s becoming, not someone in Randy’s world — she’s not a Hollywood Girl — she’s her own girl, she’s somewhere in between, she’s something of her own creation … She is finding new ways to combine her pink pastel booties with a new black leather skirt.”

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Nowhere is this more evident than during the final scene: Prom, for which Julie makes her own dress, featuring a black lace corset and a full pink skirt, that would fit perfectly in an eighties boutique somewhere in between the Valley and Sunset Strip. “In the script, originally, the dress was written as super punk — like red plaid — and I actually talked to Rachel and I said, ‘I don’t think Julie will go this far. I feel like Julie’s not totally changing for this guy. She still is who she is,” she says. Instead she envisioned a “before-Randy” dress that Julie would wear — “this beautiful pink dreamy prom dress” — and used it as the base. “I knew I wanted to use that ‘pretty in pink’ element, but I wanted to design something that the new Julie would have designed. I referenced early-‘80s Vivianne Westwood, because Vivianne Westwood was like on the edge of the punk scene, so there’s sort of a nod to that. There’s also a little nod with the French dot white tulle that kind of indicated that Julie took some of the ‘Like A Virgin’ dress to make this one.”

While most of the sartorial highlights come in the form of outfits worn by the Valley Girls, a brand-new character — a member of Randy’s band and roommate (played by Mae Whitman) — steals the spotlight during the punk scenes, with unapologetic animal print tops, red plaid blazers, and band T-shirts. “I had this whole idea for her that it’s punk, but it’s early punk, and it’s got that Teddy Girl vibe. I could have done a whole movie with her character, it was just really fun to dress her, ” says Lieberman. “It just came together so well with the creepers and the Sex Pistols tee with cowhide jacket and the little hat and the cutoff shorts. It’s something I would wear now!”

It’s not the only thing Lieberman — “a child of the ‘80s” who says she’s seen several cycles of the era’s fashion trends come and go — has enjoyed making a comeback. Those double popped polos, though? “Yeah, the preppy trend is something I could do without.”

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Meghan Markle’s Go-To Dress Is 50% Off At Nordstrom

We’ve learned every TikTok dance, box-dyed our hair pastel pink, and watched all 12 episodes of Normal People — twice. Next on our list of distractions: reminiscing about our favorite Meghan Markle looks from the last year.

There was the oh-so-casual beanie spotting in Canada post-Megxit, color-coordinated looks from Markle and Harry’s last trip to the U.K. to perform their final royal duties, and one cocoa-colored monochrome ensemble that we still can’t quite get out of our heads. But of all Markle’s outfits, there’s one we’ve always had a soft spot for: the sweet Club Monaco Demorah dress she wore to take then-four-month-old Archie on his first-ever royal outing. 

Which is why we’re now excited to report that this dress (though in navy blue, rather than the white version worn by Markle) is, for a limited time, 50% off as part of Nordstrom’s Better Together sale. Normally, the dress would cost you $289 to purchase. Now, you can get your hands on a Meghan Markle-favorite for under-$150. 

Worn on the couple’s royal tour in South Africa last September, the floaty silk sundress features cap sleeves, a belted waist, and a knee-length hemline. With it, the Duchess of Sussex wore a pair of navy suede Manolo Blahnik pumps and simple turquoise Jennifer Meyer earrings. Baby Archie matched in a blue onesie from H&M. 

This dress from the Meghan Markle archives isn’t the only worthwhile piece from Nordstrom’s sale, which ends on Monday morning. Other standout discounts include pieces from Vince, Madewell, and Topshop — all of which have Markle’s royal stamp of approval. On top of the Better Together sale, Nordstrom also happens to be holding a clearance sale right now, with discounted items by covetable designers like Reformation, Jacquemus, Rodebjer, and Collina Strada. 

Below, shop our favorite finds from Nordstrom’s, not one, but two sales going on right now. 

At Refinery29, we’re here to help you navigate this overwhelming world of stuff. All of our market picks are independently selected and curated by the editorial team. If you buy something we link to on our site, Refinery29 may earn commission.

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How The Costumes In Normal People Came Full Circle

When it was announced that the BBC would be adapting Sally Rooney’s popular sophomore novel Normal People into a TV show, there was a lot of speculation about whether or not those behind the camera would do the nuanced book justice. A love story between two young people, Normal People also touches on other sensitive issues ranging from mental illness to abusive relationships. Hint: they did. 

All 12 episodes were released last Wednesday on Hulu. And the response, according to the show’s costume designer Lorna Marie Mugan, has been “hugely positive.” “It was just very lovingly done, I think, with such intention,” she said. While Mugan spent the majority of our hour-long phone call this week talking about how well everyone else behind the camera did — including the two directors Lenny Abrahamson and Hettie Macdonald, as well as the set designers, the makeup artists, and the editors — after watching the show, it’s clear that her clothes are just as deserving of praise. 

“Realism [was] really key for this project, because [Sally Rooney] speaks in a very truthful tone,” Mugan says. “I felt that the costumes had to be very real, very intimate, and very honest.” 

In the show, Connell (played by Paul Mescal) and Marianne (Daisy Edgar-Jones) meet in high school. We see them interacting for the first time in Marianne’s kitchen, Connell there to pick up his mother, a house cleaner for Marianne’s family. She’s in her natural habitat, sitting effortlessly on the kitchen counter, legs swinging, a spoon of ice cream hanging out of her mouth. “Do you want some?” she asks him. He awkwardly responds, “No thanks.” In the scene, both are wearing their cement gray uniform button-downs and navy-and-orange-striped neckties.

Despite wearing a uniform for most of her scenes during this period, it’s clear that Marianne is not like everybody else in their small Irish town. At home, her wardrobe is made up of slouchy knitwear and vintage-looking denim, whereas others her age are wearing trendy, high street pieces, Mugan says, mentioning that she imagines Marianne as someone who’s sustainable and wears mostly secondhand. “Marianne is very thoughtful, she’s considerate, and she’s different from the other girls at school in Sligo,” she says. “She has her own style.” 

That same sense of individuality continues to play out when she goes away to Trinity College, where her look evolves. When Marianne sees Connell for the first time since leaving high school, where they had a falling out, she is no longer makeup-free. Gone are her laid-back outfits, too. Instead, she’s mastered a smudged smokey eye and discovered an affinity for accessories, including a covetable silk neck scarf and some serious baubles. She looks confident and grown-up, no longer the reserved girl she was in high school. 

On the contrary, Connell, looks every bit the same, wearing his go-to ensemble of Adidas trainers, a silver unadorned chain (a chain that now has its own Instagram account garnering over 51k followers), a henley, and an understated khaki jacket. He’s even carrying with him an unbranded backpack. “Connell’s style moves much slower because he’s unsure of himself when he goes to Trinity,” Mugan tells me. “He was the king in their small town, but in Trinity, he’s not so confident initially. To show that, we chose to keep his style similar to his in school.” 

Marianne’s style transforms again during her summer spent in Italy, about a year and a half later. There, she dresses in linen and cotton dresses, her hair loose around her shoulders and her face, once again, make-up free. Her style is meant to symbolize how relaxed she becomes once Connell is back in her life. “It was a conscious decision for there to be no jewelry, no makeup. We just pared it all back, and kept her look really natural and simple,” Mugan explained, “like before.”

Her aesthetic in Italy is in stark contrast to the one she adapts during her year abroad in Sweden just months later, where Marianne’s wardrobe is all dark. “She wasn’t in a good place in Sweden,” Mugan says, explaining that she purposely created a wardrobe for Marianne that mimicked how out of her element she was during those months away from Connell. 

But in the end, one of the most important looks for Mugan to get right was the last one. “We came full circle. When we shot the last scene, we wanted to be really conscious of the very beginning when we first saw Marianne and Connell together,” she said. In their final scene, Marianne is wearing a light gray knit jumper as she sits, knees pulled into her chest and tears streaming down her face, on the floor of her empty university apartment. Connell’s across from her in a neutral dark gray sweater. Meant to mimic the gray uniforms worn by both Marianne and Connell in high school, it’s a tender and heartbreaking reminder of the moment their love story began years before. According to Mugan? “That was the key: to bring it back to the beginning.”

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Villanelle Is A Carrie Bradshaw For Our Disillusioned Generation

Sex and the City’s Carrie Bradshaw walked so Killing Eve’s Villanelle could run. Sure, Bradshaw can be considered a predecessor to many of TV’s antiheroines — from Girls’ Hannah Horvath to Fleabag’s titular character — but stylistically, it’s Villanelle who is the heir to the Manolo Blahnik-designed throne. Villanelle doesn’t often wear heels, a fact I appreciate after sitting through one too many distractingly unrealistic action movies in which a woman runs up a flight of stairs and kicks the bad guy’s ass in five-inch stilettos. But she does have Bradshaw’s uncanny and somewhat maddening knack for pulling literally anything off. See: clown costume (Season 3), sexy pig stripper costume (Season 2), young boy’s pajamas (Season 2 for the win again!). Oh, and then there’s the pink tulle Molly Goddard dress from Season 1, aka the best tutu moment in TV history since Carrie’s in Season 6 of SATC. 

Watching Season 3 of Killing Eve, which premiered April 12, I couldn’t help but wonder, Is Villanelle — the chicest killer-for-hire ever to grace our screens — the borderline absurdist response to the careerist, fashion-obsessed SATC protagonist? 

The self-centered, egomaniacal impulses that made Carrie a successful writer — have you ever thought about the fact that she throws pretty much everyone she knows under the bus in her column for the sake of a good story? — are the same that make Villanelle a successful assassin, who literally throws people under the bus. This carefree attitude extends into their shared ability to make any random thing they throw on look good, as well as their refusal to make their style be just one thing. This season, even when she’s off the clock and thus out of her hilarious disguises, Villanelle continues to be a style chameleon, easily trading a floor-length floral gown from The Vampire’s Wife for a slouchy suit and brogues for that epic bus fight with Eve. Though Carrie lacked Villanelle’s flair for playing with gender expectations through her clothes, she, too, was known, especially in earlier seasons, for unceremoniously switching from a simple ribbed tank to a fresh-off-the-runway designer dress in a manner that felt revolutionary at the time. 

It’s fun to get dressed when you don’t care what anyone thinks — even more so when you have the money to do that — something that Villanelle excels at. Paired with her willingness to do whatever it takes to get ahead, it makes for great television, because (psychopathic tendencies aside) don’t we all wish we could be just a little more like that?

The envy-inducing SATC ethos of working a glamorous job, sleeping with whomever you want, and dropping insane sums of money on shoes has been bastardized within an inch of its life, like a game of telephone gone wrong as microgeneration after microgeneration of ambitious young women gain access to the HBO classic. But for most of them, especially now that the economy is reeling and there’s a growing awareness of the evils of capitalism, that’s changing. Which brings us to 2020 — when, disillusioned with the state of the world, we look to a beautiful, stylish, charming assassin. 

It says something about the times we’re living in that while Carrie made her Manolo money through taxable means, Villanelle is an outlaw. Though we’ll never understand how a single weekly column, no matter how popular, paid all of Bradshaw’s bills, that was part of the fantasy. These days, said fantasy is too fantastical to entertain, even on television. We all know freelance writers can’t afford solo apartments on the Upper East Side and closets overflowing with designer goods. Assassins, on the other hand? Well, that seems like a profession that could totally land you Villanelle’s series of gorgeous, vaguely historic bachelorette pads and a wardrobe that reads like a who’s who of up-and-coming designers. The fantasy of Villanelle’s lifestyle is at once more over-the-top and more financially realistic. 

That’s why it’s more fun to watch, and that’s why Villanelle — a character very far removed from our reality — is ultimately a more harmless character than Carrie, even as we watch her bludgeon to death all who attempt to get in her way.

Before Killing Eve graced our screens, one might not have guessed that what a generation of women who almost floated away for good on the Champagne promises of SATC needed most was another blonde, tutu-wearing anti-heroine who cares more about clothes than people. Now that we have Villanelle, I can’t imagine it any other way.

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शादी में सोनम ने पहना था लाखों का लहंगा, जानें कीमत और खास बातें May 08, 2020 at 01:02AM

बॉलिवुड की फैशनिस्टा कही जाने वाली सोनम कपूर आज अपनी सेकंड वेडिंग ऐनिवर्सरी सेलिब्रेट कर रही हैं। ये तो सभी को याद होगा कि अपनी शादी के दिन यह अदाकारा कितनी खूबसूरत दिखाई दे रही थी। लेकिन क्या आप सोनम कपूर के शादी के जोड़े से जुड़ी सभी बातें जानते हैं? अगर नहीं, तो चलिए जानते हैं ऐक्ट्रेस की वेडिंग ड्रेस से जुड़ी कुछ खास बातें।

अपनी शादी से जुड़ी हर ड्रेस को सोनम कपूर ने खुद करवाया था डिजाइन, देखें खूबसूरत तस्वीरें May 07, 2020 at 11:29PM

सोनम कपूर की शादी को दो साल हो चुके हैं, लेकिन इस फैशनिस्टा की शादी की तस्वीरें अभी भी लोगों के जहन में फ्रैश हैं। हो भी क्यों ना? इस अदाकारा ने अपनी वेडिंग से जुड़े हर फंक्शन के लिए इतने बेहतरीन कपड़े और स्टाइल चुने थे कि वे देखते ही देखते हिट हो गए। सोनम ने अपनी एक-एक ड्रेस को खासतौर पर डिजाइन करवाया था, जो उन्हें हर पल को और भी ज्यादा यादगार बनाता गया। चलिए देखते हैं इन तस्वीरों को:

भोजपुरी एक्ट्रेस मोनालिसा ने साड़ी पहनकर लूटी महफिल, तस्वीरों में दिखा दिलकश अंदाज May 07, 2020 at 10:37PM

भोजपुरी सिज़लर और टीवी सीरियल नज़र में अपनी शानदार एक्टिंग से सभी का दिल जीतने वाली मोनालिसा (Monalisa) उर्फ अंतरा बिस्वास यूं तो अक्सर अपनी हॉट एंड स्टाइलिश तस्वीरों से फैंस को फैशन गोल्स देती रहती हैं। लेकिन इस बार अभिनेत्री अपनी साड़ी वाली तस्वीरों से सोशल मीडिया की गर्मी बढ़ा रही हैं। जी हां, मोनालिसा की साड़ी में कुछ ऐसी तस्वीरें वायरल हो रही हैं जिसमें वो कमाल की नजर आ रही हैं।

रमजान में दुआ और इफ्तारी के लिए हिना खान ने पहना कॉटन का सूट, आपके लिए भी है परफेक्ट चॉइस May 07, 2020 at 09:45PM

रमजान के पाक महीने में हिना खान भी इबादत करते हुए सभी के लिए दुआ मांग रही हैं। इस दौरान की तस्वीरें उन्होंने इंस्टाग्राम पर भी शेयर की हैं, जिनमें वह बेहद खूबसूरत नजर आ रही हैं। शेयर्ड तस्वीरों में हिना ब्राइट येलो कलर का सूट पहनी दिख रही हैं, जो उनके लुक को फ्रेश फील देता देखा। यह कलर वाकई हिना पर काफी ज्यादा अच्छा लग रहा था। हिना ने अपने लिए कॉटन फैब्रिक से बना सूट चुना था। वाइट प्रिंट वाला इसका कुर्ता स्ट्रेट कट डिजाइन में था, जिसकी नेकलाइन सिंपल राउंड शेप में थी। इसकी स्लीव्स लॉन्ग बेल शेप पैटर्न में थी, जिस पर वाइट लेस वर्क भी किया गया था। कुर्ते के साथ हिना ने शरारा पैटर्न का पजामा पहना था। इस पर वाइट लाइनिंग्स से डायमंड डिजाइन्स के बॉक्स बने देखे जा सकते हैं। येलो कलर के इस सूट के साथ का दुपट्टा भी कॉटन का ही थी, जिस पर माइक्रो साइज वाइट प्रिंट था। साथ ही इसकी बॉर्डर पर वाइट लेस लगाई गई थी। यह लेस स्लीव्स की लेस से परफेक्टली मैच कर रही थी। हिना खान ने अपने लुक को कंप्लीट करते हुए बालों को स्लीक लो बन में स्टाइल किया था और इसके साथ मिनिमम मेकअप लुक चुना था। साथ ही में उन्होंने बेहद खूबसूरत झुमके पहने थे, जो उनके ओवरऑल लुक को और इम्प्रेसिव बना रहे थे। ऐक्ट्रेस का यह सूट ऐसा है, जिसे गर्मियों के सीजन में आराम से पहना जा सकता है। कॉटन फैब्रिक को समर सीजन के लिए परफेक्ट माना जाता है, क्योंकि यह बॉडी को गर्मी से बचाने के साथ ही उसे कूल बनाए रखने में मदद करता है। यह स्किन इरिटेशन भी क्रिएट नहीं करता। साथ ही हिना खान के सूट का पैटर्न कंफर्ट के मामले में भी शानदार रहेगा। तस्वीरों में भी देखा जा सकता है कि हिना ने एकदम फिटिंग की जगह थोड़ा लूज कुर्ता पहना था, ऐसे में अगर इसे पूरे दिन भी पहने रखा जाए तो यह कंफर्ट बनाए रखेगा।