In short
Zadie Smith discusses how clothing functions as self-definition, confidence, and “characterization,” linking fashion choices to memory, feminism, misogyny, and identity. She also talks about dressing for seasons, avoiding “ridiculous” looks, and how specific garments (caps, suits, lipstick, shoes, African prints, capes) regulate her mood and social interactions.
Guests
Zadie Smith (novelist and essayist; fashion designer by training/interest; discusses her Jamaican mother’s style and her own wardrobe loss in a fire; lived in Italy and the US, writes about Victorian clothes and modern fashion). Host: Fashion Neurosis (Vox/Explain It To Me segment), interviewer not fully identified in the transcript.
Key claims
She can’t abide boho/peasant silhouettes or anything with “unclean lines” (fringes/tassels). Outfit helps her think and feel secure; heels are stressful but platform/square heels work. Beauty and intellect are treated as opposites in England, which she rejects. Head wraps initially helped her separate public writer identity from private self.
Notable examples
March “lion” weather; wardrobe fire; buying red-and-white Nike Air Max after college; being told she looked like a NatWest secretary in the 70s; Joan Crawford as a style inspiration; Virginia Woolf’s shame over a green velvet hat; Zora Neale Hurston’s hats; African kenti cloth; “black nerd” T-shirt and library socks.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOFashion Choices and Family Influence
0:00 to 0:30
Zadie discusses her fashion choices and her mother's influence.
“Support for the show comes from Google Gemini.”
Fashion Choices and Family Influence
2:06 to 4:32
Zadie discusses her fashion choices and her mother's influence.
“I wanted to ask why you chose what you're wearing today.”
Balancing Personal Style and Parenting
4:32 to 6:21
Exploring the tension between personal style and parental expectations.
“your mother or one's mother dressing in a kind of beautiful way, but it happened to be embarrassing at the time or just distracting?”
Fashion Dreams and Loss
6:21 to 8:34
Zadie shares her fashion aspirations and the impact of losing her wardrobe.
“I remember my sister wanted my mother to wear a brown crimpling trouser suit and have black curly hair like the woman who lived up the road.”
Fashion as a Means of Expression
8:34 to 11:18
Discussion on the relationship between fashion and personal identity.
“What did you start with when you started again?”
The Intersection of Beauty and Intelligence
11:18 to 14:02
Exploring societal perceptions of beauty and intellect in women.
“Yeah, I lived in Italy for a couple of years, and I agree that that aspect is really good.”
Fashion Inspirations and Outfit Origins
14:02 to 16:57
Exploration of personal fashion influences and how they inspire outfit choices.
“My father used to start a painting at the point between the eyes, and I wondered where you start an outfit.”
The Impact of Dress Codes on Identity
16:57 to 19:16
Discussion on the confusion and identity struggles associated with formal dress codes.
“I think, um, gosh, yeah, there was a, a dress which went up in that fire.”
Understanding Clothing Preferences
19:16 to 20:19
Insights into specific clothing styles that resonate or conflict with personal identity.
“Like I can't, I think my least favorite hymn in the world is that handkerchief hymn.”
Fashion Trends and Personal Sensibility
20:19 to 21:11
How to navigate fashion trends while staying true to personal sensibilities.
“So you can't be opening magazines and thinking, oh, it's whatever it is, skinny jeans are in.”
Show all 26 chapters
Attraction and Clothing Choices
21:11 to 24:46
The relationship between attraction and the clothing choices of others.
“I never need to see another pair of those jeans again.”
The Complexity of Male Fashion
24:46 to 25:50
Exploration of challenges and observations around men's fashion and styling.
“in love with him as to sort of overcome this terrible kind of...”
The Emotional Influence of Color and Patterns
25:50 to 28:00
How certain colors and patterns can uplift mood and express individuality.
“Yeah it was quite a look I suppose if you can pull it off If you can pull it off But pulling it off sometimes just means doing it.”
Introduction to Flock Surveillance
28:00 to 28:20
Learn about the rise of Flock surveillance cameras across the U.S.
“It's not right, it's not conservative, and it sure as hell ain't American.”
The Mood-Enhancing Power of Clothing
28:20 to 29:15
Discover how different colors and styles of clothing can affect mood.
“Yeah, if I'm wearing block colors, yellow, blue, red and green together, for example, or sorbet colors, light pink, light yellow, light blue, and the sun's out, I feel very cheery.”
Evolving Perspectives on Bags
29:15 to 30:24
Explore the shift in feelings about bags and their significance over time.
“It's so funny to remember now, big 50s skirts.”
The Complex Relationship with Shoes
30:24 to 33:16
Examine the love-hate relationship with shoes and their impact on confidence.
“some of his family is from Northern Ireland and they knew my husband's family.”
Fashion as an Expression of Self
33:16 to 35:34
Understand how fashion can express mood and time, while navigating personal identity.
“And then, I mean, it's all kind of, you know, for, I think 20 years, I didn't buy Nike because I read Naomi Klein's No Logo.”
Using Fashion to Navigate Social Situations
35:34 to 36:59
Learn how fashion choices can influence social interactions and perceptions.
“Like in the most practical and direct sense.”
Reflections on Attractiveness and Identity
36:59 to 42:06
Delve into personal experiences of attractiveness and identity through fashion.
“I think I have like a permanent lockdown personality.”
Reflecting on Childhood Beauty Standards
42:06 to 43:21
The speaker shares memories of feeling inadequate about beauty during adolescence.
Liberation from Conventional Beauty
43:23 to 44:33
Discussing the pressures of beauty and the relief found in rejecting them.
“That seems incredibly tender, sweet sort of.”
Embracing Nakedness and Body Acceptance
44:36 to 46:39
Exploring feelings about nudity and body comfort through personal experiences.
“and I think my father did have a very kind of conventional idea of female beauty.”
Literary Inspirations and Fashion
46:41 to 48:09
The conversation shifts to literary figures and their influence on personal style.
“It's incredible that when I try and think back about how I thought about my body and the clothes that went on it, and it's like thinking about a different person, to be honest.”
Virginia Woolf and Fashion Humiliation
48:12 to 50:11
Relating to Virginia Woolf's experiences with clothing and public perception.
“So yeah, there's quite a lot of inspiration.”
The Evolution of Personal Style
50:12 to 52:21
Discussing the transition from head wraps to natural hair and personal expression.
“a piece of clothing and then you go out somewhere and it turns out to be completely wrong and the humiliation is so intense.”
Transcript
Automatic transcript. May contain errors.0:00Support for the show comes from Google Gemini. You know that moment when curiosity strikes? You're exploring a new city with a family and a sculpture catches your daughter's eye. What is that? Who made it? With Gemini, you can snap a picture and get a fully interactive breakdown of its history, architecture, and even hidden secrets. Gemini is built for moments like that. Whether you're learning something new, solving a problem, or looking for your next favorite thing, Google Gemini is here to help. Download Gemini, Google's AI app, or visit gemini.google.com to learn more.
0:39Excuses are easy. An epic movie night? We don't have enough snacks. Dinner party with the girls? We'd have to decorate. Surprise date night? Nothing to wear. But Amazon's Prime same-day delivery lets you say yes before the moment slips away. Try that new popcorn maker, order those cheeky drink glasses, get that new perfume, and turn that I wish we could into an I'm so glad we did. Visit Amazon.com slash Prime to find millions of items delivered fast. Same day delivery. It's on Prime. Available in select areas. Terms apply.
1:19Our earliest childhood memories can feel so visceral. I have this memory of my mother standing on the beach, you know, the wind whipping her hair and her jacket, calling into the wind with my siblings out in the lake and the dam, you know, looming in the distance. But none of these memories were true. This week on Explain It To Me from Vox, why can't I remember being a baby?
1:58Hi, come in.
2:05Welcome to Fashion Neurosis, Zadie Smith. Thank you for having me. I wanted to ask why you chose what you're wearing today. I think I was trying to will spring to arrive. So between November and late February, I would seem to wear black every day. And then when March comes, I try and add color. And pink is, for me, the beginning of spring. Well, it didn't work. It didn't work. It never works in this country. But in America, it always worked. They have that very banal expression, which is true. March comes in like a lamb and goes out like a lion. Yeah. It's been going like a lion since about January.
2:56Yeah, it's exhausting. It's really hard to get dressed for. But I'm just tired of wearing winter coats and I'm done. Do you have any obsessions at the moment? I maybe have an obsession about not looking ridiculous, which is maybe a preoccupation of women in their late 40s. So I have a little more anxiety getting dressed than I used to. You ask yourself a lot of questions like, are these jeans or does this skirt or will this coat, etc. I do that a lot these days. Does it relate back to anything? Like did anyone in your family dress in an embarrassing way? I mean, no, I have an amazing example. my mother.
3:44I mean, she dresses, I would say, she dresses to be the center of attention and she always did. But she was very good at it. And very chic, actually. She wears lots more color now, but when we were young, she was kind of a specialist in like, silky black separates, everything very clean lines and very elegant. I'm sure she's the only Jamaican woman wearing a beret around Wilson in the late 70s, early 80s. So she was very chic. And she absolutely has not gone quietly into that night. She dresses more and more outrageously as she gets older. Yeah, it's interesting the thing of your mother or one's mother dressing in a kind of beautiful way, but it happened to be embarrassing at the time or just distracting?
4:46I think, I mean, we're not very different in age. She's only 20 years older than me. So there's often been periods where we've looked more like sisters then mother and daughter. And that seems to be happening again, actually. But she definitely, you know, she really had great taste and no makeup. I mean, she didn't need any makeup. So that's also something that has kind of impressed on my brain. Like I wear a bit of lipstick, but I mainly just focus on clothes. Yeah, my mother, she, I mean, she dressed as a hippie and she had these like beautiful clothes and she was beautiful. But because we were very poor, it felt really awkward and it felt, it drew attention to us in a way that was hard to sort of, it was somehow invasive.
5:47People felt that they could comment on how we were because we were hitching or something. We didn't have protection. Right. And you want your mother to look like everybody else. Even today I went out, took my son to school in a T-shirt which said black nerd. And I was wearing a white Kangol cap and yellow library socks that look like they've been, I mean, they've got the kind of stamp of a library on them. I think I must have got them for the New York Public Library. and he was distraught, which was fair. But yeah, there's that tension between not embarrassing your children and wanting to dress as you please.
6:27I know, it's a very delicate tightrope. I remember my sister wanted my mother to wear a brown crimpling trouser suit and have black curly hair like the woman who lived up the road. They want you to look like a normal mum, but I think there is no such thing really. And I notice all kinds of little expressions of style in the women I live around, and particularly of your generation, right? Like, so you see all these mums and you can kind of detect which one was the raver, which one was the indie kid, which one was the sneakerhead. It's all like lost in the winds of time, but you can still see these little glimpses of the 90s or whatever.
7:13I think it was the same with my mum's generation. My dad wanted to be like a 50s beatnik and my mum wanted to be a hippie or some chic North African living in Paris. Yeah. Sounds really good. But of course, it always sounds good to everyone else. Do you have any fashion dreams ever?
7:39um I mean I quite often think dream about clothes not so much now but in my 30s when getting dressed was a big drama and I was I was really into it um I would often think about outfits or imagine I had things I didn't have and also because I when I was about 33 maybe a bit younger 31 or 32 I lost my entire wardrobe in a fire. So for ages after that, I'd be thinking that I had things that I no longer had, you know, dresses that I wanted or missed. So that used to turn up in dreams sometimes. God, that sounds so stressful. I mean, it wasn't great. Yeah, I lost everything and then I had to start again.
8:26I still sometimes think about individual items in that wardrobe that It was so lovely, but yeah, all gone. What did you start with when you started again?
8:41Trying to think. I mean, at that point, then I had some money. Like when I first started buying clothes, the first thing I actually bought for myself was when I went to college and I got a student loan. And instead of spending it on necessities, I immediately went and bought some red and white Nike Air Max and was so proud of myself. But after the fire, I think I was living in Italy and I probably would have bought something from the little boutique shops there. You know, so it's like Paris. You're always buying individual strange little things. I remember Nick's, for some reason, my husband bought a T-shirt which says, I have a cold robot heart.
9:24I remember that. That was sometime after the fire, but I don't remember what I bought. I think if you have the right outfit, you can think better. Um, I think when thinking and articulating is, is so important to you, which clearly is to you, part of my salute, you know, part of what makes my brain and my mind feel secure is my outfit. And I think that's why I became a fashion designer. I mean, it's, it's changed. I can remember when I first became a writer is such a different time in 1999. If I spoke anywhere, I, or if I, when I started teaching, I started teaching quite young, the emphasis was always on, you know, uh, the same with standup comedians at the same period.
10:11Like don't, uh, like don't let on you're a woman almost. You didn't want to, if you had to be taken seriously, so you couldn't wear anything to, uh, I don't know, feminine or I was always trying to walk that line to look like a serious person. It seems so funny to me now. Um, but I remember dressing like that. Like if I had to give a reading, I would be like all lady writers in the nineties in a black blazer and a black shirt and some black jeans, black boots. Like it's, it's kind of ridiculous. Um, but then that faded away. And I think particularly living in Italy and seeing women at all levels of society, even though it's such an unbelievably misogynist country.
10:54Sorry, Italy, but it is. The weird flip side of it is that it's, it doesn't make this puritanical thing about women and beauty. So powerful women can be very, very dressed and still considered powerful. It's like a weird flip side of patriarchy. So there's not a lot else in Italian life I would adopt, but that part I found quite interesting that there was no contempt for the idea of a woman dressing up. Yeah, I lived in Italy for a couple of years, and I agree that that aspect is really good. I mean, there's some sort of further misogyny that happens here about that when a woman does make an effort to look nice, it's so up for grabs, really.
11:47It's up for sort of being derided. Right. And it's very empowering because we're taught that, you know, you shouldn't care about your appearance, but it's a means to an end. So it's a strategy. Yeah. And actually it's very effective. Also, I think there's something a bit darker about it, which I only understood when I published because I'd never considered myself. I was kind of an awkward looking kid. I couldn't dress. I was very much in the shadow of my mother. so I never thought about anything apart from my work. And then when I published and learned to dress a bit, I've kept on reading these pieces about me saying, well, she can't be good because look at her.
12:27And then I thought about it and I thought, what does that actually mean? It must mean that in England, the idea of female beauty or attraction is antithetical to the idea of intellect. So the point is, why would you bother being smart if you can be pretty? That was the argument. Like she can't be smart because if you're pretty, then that's what you, you get what you need as a woman. Why would you bother doing anything else? And, and vice versa, if you're smart, you must have become smart because you couldn't get whatever England has to give you any other way. I mean, that is such an extraordinary set of ideas when you unpack them.
13:03It is. It's totally, I mean, they completely go against each other because the brilliant combination is to be both or it isn't, they're not mutually exclusive, like being intelligent or having intelligence that you know how to use partly in how you dress is so much fun. So intelligence doesn't only reside in intellect, does it? I just, I found it really interesting. I realized that that's what these men think. They think that beauty is a kind of tool used against them and a very effective one. They understand it's effective, but once a woman has it, why would she bother with any other tools of life?
13:47So that was kind of instructive. But yeah, I guess living in Italy, watching literary critics and mathematicians and physicists all on telly done up in these interesting ways, I found it kind of engaging, just surprising because I'd never seen anything like that in England. Yeah. My father used to start a painting at the point between the eyes, and I wondered where you start an outfit. I'm usually lying in bed and I think,
14:20I do think of lipstick and a colour, a kind of colour scheme to go with it. I feel like I almost never get it wrong. And then sometimes, very recently, I got it so tremendously wrong and I was really shocked. Part of it was the problem that the dress I was wearing, the zip split at the last minute, and then I had to go to this very fancy thing and the dress code was business attire, which I realized did my head in like no dress code has ever, because what is my business attire? Pajamas, usually, and a beanie every day for 25 years. So I literally went to this thing dressed as Stella McCartney was there and explained to me I looked like a secretary in NatWest in the 70s behind a bank till.
15:16And she was correct. I just lost the plot. So sometimes I put an outfit together in seconds, usually in my mind. And I always think that I go with my gut. And it's like playing a character. You play a role. and I really realized when I did this thing a few days ago that the role was so unfamiliar to me, business attire, that I just absolutely screwed the pooch. It was terrible and yeah, it was awful and just as you say, because I was so badly dressed and so wrong, I couldn't really think. I kept on talking nonsense. I sweated profusely. It was like a full disaster, yeah. but I'm interested do you think of lipstick at the same time as as your what it's the only yeah it's the only I can't I just don't I find makeup really really boring and I don't have any patience for it so lipstick is the one thing and uh I kind of know I guess I only have two modes which is bright red no three dark red or a light pink and that kind of sorts in my mind And then along various lines of how masculine do I want to be or how feminine?
16:25And that changes day by day. Like sometimes I really feel much more butch and want to be in a full suit. And much less common now is this kind of girlish dress thing. But sometimes I used to wear a lot of dresses, but less now. Do you remember the first time in your life you found a piece of clothing that made you feel different? Um, I mean, by different, I mean, it sort of gave you something. It acted for you. I think, um, gosh, yeah, there was a, a dress which went up in that fire. It was by, I think it was a French brand and I can't remember who it was exactly now, but it was a, I guess a tea dress, like a 1940s tea dress, but new and just fit perfectly.
17:22And when I was in it, I felt like Joan Crawford, who is one of my great fashion inspirations and just very happy. That kind of dress, Joan Crawford is such a good example. It is feminine, in, but it's also not. It's like, they're very bossy, those dresses. And I mean, the one style I cannot abide personally is that kind of boho, hippie skirt, peasant. I know ladies look lovely in it, but it's like antithetical to my entire existence. I could never wear anything like that. So large periods of the nineties were painful for me. It's that kind a Glastonbury look and I can't stand it. I kind of prefer like take inspiration from the kind of formal way you get in places like Ghana or Nigeria, like bright lines, powerful outfits, um, or those 1940s, uh, lady movie stars like Crawford.
18:29yeah I really agree about the boho I find that totally undermining yeah if I had to go out dressed like that I wouldn't know who I was at all I'd be so miserable and it's it's about a certain kind of prettiness like I don't know someone like Sienna Miller is pretty but I'm not pretty I have no I also have no aspirations I don't I'm not concerned with prettiness so for me It's just not a thing that I would ever be interested in wearing or being. Yeah, because the Ghana outfit that you described is, when you said that, I thought, that's my version, that my version of that is to wear a suit and a tie.
19:09And I feel much more feminine within a more formal dressing structure. Yeah, it has to be formal. Like I can't, I think my least favorite hymn in the world is that handkerchief hymn. Oh my God, that is an abomination. Or anything with fringes, tassels. I can't. Anything that's not distinct or isn't a clean line, I cannot. Anything silly, I just can't abide anything like that. I can't wear it. But I think it's so good to know what you can't wear. It just makes life much quicker. You go into a shop and 85 % of the clothes there just filed under, not for me. Yes, yeah. So it's a very quick process.
19:55No, it's very soothing, actually, because instead of there being, you know, an awful amount of choice that leaves you then completely confused, you see immediately what's there for you. Right. It's either for you or not, and then you're done and you're empowered. That's it. But that's also about not being a leaf in the wind of trend. I think that's a line of Martin Amis's. So you can't be opening magazines and thinking, oh, it's whatever it is, skinny jeans are in. That's just absurd. You have to think about what works with your body and with your sensibility even more importantly. But then weirdly within those trends, when they mostly don't suit you, you suddenly spy something.
20:41Yeah, sometimes it's a gift. It's like when the kids came up with, I don't know, something like the word they as a pronoun. Like, oh yeah, that's a fantastic idea. It's like something that comes to you as a gift from a younger generation. So that's certainly true of jeans. Like every now and then some kid invents a different way of wearing a jean. and you're like, oh yeah, that's much better. I hated. Like I wore a lot of boot cut jeans, but I was really grateful when that died. I never need to see another pair of those jeans again. My next question is very much on the subject of, if you fancy someone but don't like their clothes, does it kill your attraction to them?
21:27That's interesting. I'm thinking I'm trying to work out if I'm more judgmental about women or men's clothing in this department
21:38I think it might be a close run thing I once saw a very beautiful girl at a literary event in formal shorts and I just could not ever take that person seriously again in any form in literature or in person so some things like that I just cannot I can't if you turn up to an evening event in formal shorts, I can't, that's it. There can be no attraction, sexual or personal or anything. With men, I, yeah, I think that there can be that thing of men of my generation dressing in exactly the same cargo shorts and Adidas tops that they were wearing in 1996, I find pretty tough to take. But I don't know.
22:33I think maybe with men, clothes can really make a man, like really make him attractive when he might not otherwise be. Whereas, I don't know, women, I'm less sure about that. What kind of clothes for men? Because I mean, I find that lots of men famously have no idea really what they see something in a catalog and they buy those, that thing. And there's something very kind of endearing about a man just wearing some clothes. Yeah. I mean, I, I, I always think I would have been a good stylist. And when I think about my female friends, I'm always excited to, I'd love to go help them get dressed or point them towards things or send them links or, but if you ask me how to dress a man, I literally, if I walk into a men's clothes shop, I just don't even know what I'm looking at.
23:23It just seems to be, I have no opinion. I have no idea. I don't understand how men get dressed at all. And yet when you see a man is well-dressed, you're like, oh, you look great. But I don't know where he found those clothes. I wouldn't be able to find them. So to me, it's a complete area of mystery. I know that there are certain kinds of like really good Japanese jeans that sometimes men wear, they look amazing, but I don't know how you get those. I can't buy my husband anything at all because I don't understand men's shops. I don't know. On the hanger, you can't tell what you're looking at.
24:00Whereas with women's clothes, in a second, you can tell exactly what it is, what it would look like on, who it suits. So I'm in the dark a little bit there. Also, I find something about, I mean, I find it much more difficult when a man has tried to dress in a kind of groovy way or trendy or something. And then it's so painful. I mean, I remember one incident with this guy I was seeing and he came to see me dressed up and he looked like someone in the chorus of a pantomime. And it was so shocking. But my way of addressing it was to, you know, I knew it was a really bad sign and I knew that really I ought to run a mile, but because I wasn't really ready to run a mile, I overrode my feeling by falling more in love with him as to sort of overcome this terrible kind of...
24:59Oh God, and this terrible outfit. Yeah, the terrible outfit, but I mean, in the end, the outfit won out, but... I think you see it sometimes with young male actors who've been dressed by stylists. They look lost and like the clothes are wearing them, as they say, and just completely it hasn't worked in any way. So I always find that a little bit depressing. Particularly with young men, the style should come from you. and some of it is like enjoyable eccentric like I saw a picture of Paul Mezcal who had for some reason cut his own sweat top into a kind of belly top and his shorts I think he cut them with a pair of scissors and that was a good look like he'd made an effort I like that kind of ingenuity God really?
25:51Yeah it was quite a look I suppose if you can pull it off If you can pull it off But pulling it off sometimes just means doing it. And even though it's kind of horrifying, it's something. But I'm not sure how attractive. Well, I also think, you know, Black Streetwear, both in America and here, is pretty awesome. It's always attractive. It's simple. It's always, you know, the fresher it is, the fresher the sneakers, the fresher the sweats. I love all of that. It's like a tux or something. It's always well done.
26:57coach Cheryl Reeve in Chicago during All-Star Weekend. We get into her personal style of activism, how she supports her players as people, and why she proudly considers herself a dyke. Then we learn if she's more of a mommy, daddy, or baby. Check out the latest episode of Why Are You Like This wherever you get your podcasts and on YouTube.
27:20People are big mad about data centers in the United States this summer, but don't sleep on how mad people are about flock.
27:30Flock cameras, if you haven't noticed them, don't worry, they've noticed you. You may have heard about them in your reels or on Flock Talk. I have never in my life been as pissed at the government as I am now that Flock cameras exist. Americans are going to war against Flock AI surveillance cameras and people are going around and literally sawing them down, absolutely destroying them. An AI surveillance apparatus goes against the very essence of freedom and the core values of our country. It's not right, it's not conservative, and it sure as hell ain't American. Flock surveillance cameras have popped up all over the nation, every state but Alaska.
28:08But this year, dozens of cities and counties across the country have cut ties with Flock. And on Today Explained from Vox, we're going to tell you why.
Read the full transcript
28:19Are there certain clothes that make you feel better when you're feeling low? Yeah, if I'm wearing block colors, yellow, blue, red and green together, for example, or sorbet colors, light pink, light yellow, light blue, and the sun's out, I feel very cheery. I really like wearing an African print in the summer. That cheers me, a kenti cloth. Um, and when I was younger, I used to really love wearing fifties silhouettes. I haven't done that in years, but all the way through my thirties, like I really enjoyed wearing these sometimes vintage from Alfie's, you know, uh, off church street, but like proper crinolines.
29:15It's so funny to remember now, big 50s skirts. Yeah, that always made me happy. What about bags? Do you have any feelings about bags? That's only come with age. When I was young, I used to think, who are all these sad old women who want bags and shoes? I don't think they're alive. That's what I used to think about. Everyone who was concerned with bags, and I had literally no interest in them, apart from like 50s clutch bags, which I just get from any secondhand stall. But of course, as you get older, the attraction of bags becomes obvious. You don't have to fit into a bag or a shoe. They're always available to you.
30:00I still can't, I honestly cannot spend money on a bag and I never have. I bought them for my mom because she likes to show off a nice bag. but I'm incapable of walking into a fancy bag store and laying out money for a brand. It just, it makes me feel sick. So I can't do that, but I do admire the shape of certain bags. And I've been lucky sometimes with like Loewe, Jonathan Anderson, who is a friend of my husband's, some of his family is from Northern Ireland and they knew my husband's family. He gave me a few Loewe bags and they've, they're amazing. They're absolutely amazing. I don't think I could buy one, sorry to them, but I am really amazed to own them.
30:47They're like works of art. Yeah. Yeah. I feel similarly about bags. Um, I like a kind of cheap, rubbishy bag that somehow I've bought things down Portobello. Like I bought this fantastic, um, line of Judah bag that was 10 quid. I love things like that. But shoes are in a different category. Shoes are in a different category. I find bags like Chanel bags, I find that really kind of anti-fashion to me. I don't get it. I know that it's got kind of classic connotations, but I really don't enjoy it. But sometimes big totes, I don't mind. But the reality is I've usually got a canvas bag. So it seems, and I've got to carry a laptop almost always.
31:37But I have one big, beautiful pink tote leather bag from New York and a red one. So those kind of alternate depending on what's on my mouth. But shoes, shoes is a whole other affair. God, shoes is just what I live for. That's where I start with an outfit. I think, how elevated, I mean, literally, how elevated do I want to be today, either in a trainer or in a huge something that goes up? And then I just feel like, it's like my soul is repositioned. I just, I feel a different type of confidence, a different type of sense of myself. I mean, I feel I have a real hard time with it because, you know, I spent my whole childhood and adolescence reading great amounts of feminist theory.
32:35And I am a feminist and I find heels really stressful as a concept. And yet I have owned so many of them. Never, ever, ever a stiletto. I can't. I hate to be unstable. table, but platform heels, big square heels. I mean, particularly in my twenties and thirties. And it was exactly that, the feeling of that when I was in them, I didn't feel vulnerable or the kind of feelings I don't enjoy. I really did feel like I was about to stomp somebody to the ground and I really enjoyed it. I enjoyed the height, particularly I am tall, but I would really love to be taller. For me, as far as women go, the taller, the better.
33:16So I just, I liked being tall. And then, I mean, it's all kind of, you know, for, I think 20 years, I didn't buy Nike because I read Naomi Klein's No Logo. It was a great book that she published. Same year I published White Teeth. And I swore to myself, I will never buy another Nike trainer. And, you know, I grew up on Nikes and they were, you know, grew up in Wilson. and they are, they are fashion. Anyway, about four years ago, I broke and I bought Air Max red, white, the same ones I would have had in 1992. Sorry, Naomi. And I really do enjoy them. So I have those, I have a silver pair and I have a gold pair.
34:10That's the other thing I do. Pink and red lipstick or silver and gold. It's a lesson of my mum's. I mean, I'm sure it's everyone's lesson that you can only wear all silver or all gold, never mix them. So I need to reiterate nothing I'm talking about is actually real silver or actually real gold, but they're separated. And a lot of my outfits are based around whether I'm silver or gold today. Yeah. I mean, I don't think being sexy is at odds with being a feminist at all. or heels or anything. It's not the sexiness. I hate, I refuse to be uncomfortable or in any way, you know, just not free. Yeah.
34:57So when a heel gives me pain or slows me down or I cannot, so stilettos are not a possibility for me. I can't have it as a kind of liability. So I do have a conflicted feeling about it.
35:18because I do like the costuming part of feminine life, and I've learned to enjoy it more and think of it as a kind of art form, mainly through actually meeting fashion designers and fashion people who I realize take what they do as seriously as I take what I do, and that they're making the world. Like one of the things when you look at fashion history, I just wrote this novel set in the Victorian period and I read a lot of books about Victorian clothes, is that they're genuinely, it's not a new thing to say, but they are expressing the mood of the time. Like in the most practical and direct sense.
36:00So you can look at a photograph of any decade in the 20th century and know within a second what decade it is. And it's from what people are wearing. It's immediate. even more than their haircuts or anything else. So it's a way of expressing time. So I think when I was younger, I just thought of it as a system that oppresses women. And so I found it really hard to take, but I've learned to have more fun with it and think of it as like a, just as like what I do when I'm making characters on the page. Like it's characterization, except I'm the character. A friend told me he masked his shyness with misbehavior.
36:43Have you ever tried that? Do you dress up or down with shyness? I absolutely am shy in a sense. I'm not, because I spend so much time by myself during the day, in the evenings. I'm a bit, I think I have like a permanent lockdown personality. So I'm just a bit rusty. I'm aware of people having jobs and being with colleagues all day long. And so having these social skills a bit more fluid than I have them. So when I go out in the evening, I am liable to have an awkward conversation or say the wrong thing or, or just not know how to talk to people. So I absolutely dress, um, you know, I think I let it from my mom, like she enters the room like a queen.
37:30And that means that people are wary of you. They might be a bit scared of you. It gives you a bit of time to get yourself together. And I just much prefer to enter a room like that than to enter in a kind of mousy or vulnerable way. So things like capes are very important to me. I like a good cape. And I just, I enjoy, particularly when I lived in New York, if I had to go to an event or a literary event, I'd rather walk into a room in an outfit, which makes people anxious to talk, that they don't, they're too scared to come up to talk to me. That's, I guess that suits me better, basically. It's interesting what you just said, because I was thinking about asking you what was the first thing you knew would invite disapproval and did it make you feel more free or more self-conscious.
38:32But I'm very interested that it's part of your way of handling going into a room that there is a level of intimidation that creates a pause between people just being presumptuous about invading your space. I mean, it sounds a bit grandiose, but. I think people do, particularly in my world, when I was young, people do talk at literary girls. They talk at them, they lecture them and they tell them what books they should read. And there's a lot of that. And I didn't, I didn't really want, it's kind of about wanting to be the person who's talking rather than the person who's being talked at. There's definitely a part of that.
39:16And sometimes it's a bit perverse. Like I, you know, if I was going to a very stuffy literary event, then I might want to wear a big Afro or, you know, to wear something quite street wearish or, you know, cause it's funny. It's funny. The contrast is funny. It amused me at least when I was younger that everybody's dressed like a blue stocking and I'm dressed in street wear or sometimes the other way around, you know, like I go to a more street-like party and then I'll, I'll be dressed like a blue stocking, something like that. Like the contrast amuses me, I guess it works that way, but it's never, I don't know if I think if the aim was to, to look pretty in the conventional sense, that would be such a different, to me, that's such a vulnerable thing, place to be like, Like, as if you're asking the question when you enter the room, am I pretty?
40:15Like, that's something that I never, ever wanted to ask or get the answer to, I suppose. It's just not a question that interests me. Do you remember the first thing you wore to be consciously attractive to someone? I mean, when I was in school, because I felt so outside of all of that, I had the kind of... I was just very angry about pretty people and their pretty clothes. I just didn't want to be involved with them. And I had that kind of resentful, like, oh, you do that. And I'll sit here and read all day long. And so I was very negative about all of that. And in those days, it was kind of, we called them Becks.
41:02They were like beautiful North London girls in skinny white jeans and with huge blow dries. And then there were, I didn't aspire to that, but then the other girls, like the girls I knew, like black girls in big trousers and tiny belly tops. And I couldn't wear any of that either. I didn't feel comfortable in it. I didn't look good in it. So I just felt very kind of, that those were the hot girls and that wasn't my thing. So to try and be attractive, I think I made lots of faltering attempts. You know, when you're a teenager, you just think, well, I've got breasts. is that is that a thing you wear awful push-up bras and terrible things that didn't work at all they just didn't they didn't work I've just found it very and because my father was a photographer wanted to be um and was very preoccupied with beautiful women kind of like your father and was always looking at them and thinking about them and photographing them and so I always felt very like just that that was just not my world and I felt embarrassed not to be whatever that was and he actually said to me he took some pictures of me when I was 18 because my mom had said to him my parents were divorced by then but my mom said look lady feels so ugly all the time couldn't you take her out and just take some nice pictures as she had a few nice pictures so she could feel and so this was all conjured up and they did my hair like like prints like a bouffant I had a massive sweatshirt on and I think a long black skirt and my dad took me up to his office he was working in a paper company up to the roof of this office in Houston and took these professional shots and I look absolutely absurd so awful and even my dad because he's very honest maybe your father was like this about aesthetics he just said well look these are awful but one day you're going to be very beautiful just not now that's not funny to say it's so funny and he said your face will change you're 15 and one day you're going to be very beautiful and now I think about I think that's such a crazy thing to say to a kid but I kind of took it seriously I was like yeah okay fine so I'll just get on with what I'm doing I won't worry about it so I just didn't really think about it for about eight years.
43:23That seems incredibly tender, sweet sort of. I appreciated the honesty. It was honest. It was like, you know, this is not, you are not, this is not your time. You're an awkward teenage girl. It's fine. And I was, it's fine. Yeah. I remember, I mean, I had such a thing against my body for most of my life, which improved a lot after I got pregnant. And I thought, God, it's so handy, this body. Yeah. But I, before that, I even had, I asked someone to take some photographs of me naked so I could look back on them when I was old and think I was fine. And. Yeah. I mean, that's the revelation that you were just fine.
44:04Yeah. Like all this anxiety and sadness and I can't believe it now. And like every now and then, like I had to write something about my adolescence for the New Yorker and they needed a photograph. and I was like, oh, you guys, you wait till you see this photograph. It's going to be so funny, this photograph, how awful. And then I looked at, I found one. I was like, oh, there was literally nothing wrong with me. It's like, it is a mental illness called being an adolescent girl. And it's such a shame, so much time wasted. But I just think in that case, and I think my father did have a very kind of conventional idea of female beauty.
44:45And my mother had been a model briefly, that's how they met. That him kind of saying, you're not in this competition of female beauty. I know I should have been insulted, but I actually found it very liberating that that wasn't going to be my concern. How do you feel about being naked then? And if you have to be naked, do you keep something on to make you feel? No, now I'm like, I remember when I was, you know, when you're 15 and have probably like the most beautiful body in reality and you spend your entire time in changing rooms, carefully disguising it in case anybody sees this monstrosity that you think you have.
45:23And then you see these older women who are objectively monstrous, just walking around naked. I am one of those older women now. I just don't care. I don't care at all. I just don't care. It just completely vanishes. It's all the wrong way around, right? Yeah, it's backwards, but no, I don't have any. That's gone completely. I was never naked, except, oddly enough, when I sat for my father, when I felt perfectly fine and at ease. You must have been asked many times, but how did you feel totally at ease? It's the opposite of what most people would feel in that scenario. I suppose because I had something to do.
46:05I had a job. I needed to be naked in order to do that job, which was sitting. I knew you had to do that. I was good at it. And then as soon as the clothes were off, I never really thought about them again. I could have practically gone onto the street naked because I was adjusted. I wasn't preoccupied with revealing, as you described, this thing that I was so paranoid about. And I knew that he was happy. He, you know, he needed a naked figure and that I was providing. So it was just sort of matter of fact. Right. That's it. It's incredible that when I try and think back about how I thought about my body and the clothes that went on it, and it's like thinking about a different person, to be honest.
46:57Yeah, it's really very powerful. To think yourself back into that person who was so worried or concerned about what different parts of their body looked like in different kinds of clothes. I just, what a tremendous waste of time. Is there a literary figure that you've ever imagined wanting to look and dress like? Yeah, absolutely. Zora Neale Hurston. I think she's an incredible dresser. Who? Zora Neale Hurston, she's been there a long time now, but a great African-American writer. She was an amazing wearer of hats, of those kind of 1940s dresses. And then there were kind of, I have a lot of colleagues, people like Donna Tartt, who's incredible, suits all the time.
47:47I remember meeting Toni Morrison once and she had the most amazing shoes, like really ridiculously expensive, beautiful brogues. You know, there are a lot of women writers whose dress I really admire. My friend Katie Katamura is an incredible dresser. Leanne Shapton. Candice Carty-Williams, amazing dresser. So yeah, there's quite a lot of inspiration. But what about people in novels? Is there anyone in a novel? My first collection was completely designed for Colette's Claudine. Right. She was my muse and with the little Lady Penelope from Thunderbirds sort of chic thrown in. but I very much thought of her all the way through but just made her skirts incredibly short instead of ankle length.
48:47I think I almost never relate to literary characters, which is a weird thing. I guess in some of my own novels, like Kiki on Beauty, I always imagine her dressing well. I don't know. The person whose clothes I've always been curious about, Virginia Woolf, they're really all of those kind of shapeless, hanging boho things she wore would never suit me. But I kind of, I'm just interested in the way she thought about clothes and how much she loved them. And there's a really funny bit in her diaries where she goes to Bond Street where she always went and bought a massive, she describes it as a massive green, I think it might be velvet hat.
49:33and she's very pleased with herself and she goes off to see Vanessa, her sister, who she's in kind of constant low-level passive-aggressive competition with. And she walks in and everybody's there, Clive Bell and Keynes and everyone, Strachey, and they just burst out laughing. Poor Virginia. At her hat and at her. And at first you think it's like a funny episode and then literally for the next two or three weeks in her diary, she's just burning up with shame about it. She can't let it go. But she's so angry, angry at them and angry that she wore the hat and angry that she bought it. And I really relate to that thing where you're so happy with a piece of clothing and then you go out somewhere and it turns out to be completely wrong and the humiliation is so intense.
50:22So I always feel for her in that moment. One of the first times I I remember meeting you, as it were, we would pass on the bridge nearby where I live. And you'd often have a big hat on, like a big beanie. And I noticed that when I looked at photographs of you before and before I knew you, you'd be wearing a turban a lot. And now you have your hair out and you often have these beautiful decorations in. And I wondered what's changed. I mean I think originally it was a series of things with the turban one is that I I just like makeup I can't be bothered with hair care I just I'm lazy and it's quick and there's something regal about it and and I like its connection with the diaspora I come from I like its African connection and I like the idea of being one of the many many women in the world who cover their hair that's an enormous community so I like participating in that um I liked all the different colors and also at a very practical level it was a way of separating the person who writes the books from me so I I guess I really um you know I don't I don't really enjoy being recognized in the street or anything like that and and the more books I wrote the more I wore the head wrap in the few times I have to be photographed or out in the world, then when I'm not wearing it, which is every other day of the week, nobody recognized me.
51:59So it was a really convenient thing. So the head wrap was just for a kind of public version of me. And then I could be my private self all the time. Nobody, literally no one would ever notice me. Even if someone would be sitting in a tube, someone would be reading a book of mine set right opposite me and they wouldn't notice me because they're expecting this head wrap. So that, that was, uh, good. And then it kind of just stopped working, I think. And, uh, and, um, yeah, so I, I kind of, and then I couldn't really wear it anywhere. Like I couldn't wear a head wrap to get to somewhere because, because people recognized it.
52:38So, and I just got more interested in like taking care of my natural hair, uh, using protective styles or wearing out or just wearing a big Afro. Or I met this wonderful writer, Yaa Jayasi, who wrote Homecoming. It's a beautiful novel. Um, and she's extraordinary, natural, thick, what we call type 4C African hair, tight curl. And it's so beautiful. And I, and she, I said, well, how do you, how do you do that? And she just said, you know, every night I just oil it and twist it. which of course my mother had told me a million times, but you never listen to your mother. So I just started doing that and enjoying the feel of my hair and the things it does and all the different effects you can have with Afro hair.
53:27You can just do so many interesting things. So I just really enjoy it. And sometimes I can just wear it huge and it just covers my face anyway um you can slick it down you can wear it in a bun it has an amazing effect on your outfits on on your style um so i've just really i really enjoy it more and more well thank you so much sadie for sharing your fashion neuroses with me i've really enjoyed it thank you you too
54:07Thank you.
From the publisher
RERUN: Zadie Smith was one of my first recordings of Fashion Neurosis. She arrived on a bicycle in the pouring rain, a more typical June day in London 2024. I didn't know Zadie well, but she owned a couple of my velvet suits and she is one of those writers who dresses as brilliantly as she writes. Writing is such a glamorous thing. Seeing a body clothed with style makes me wonder how that person thinks. This is why I was so keen to see Zadie Smith lying on my couch - to see her and to hear her.
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Zadie Smith is a British novelist, essayist, and short story writer.
She is the author of six novels and her first book White Teeth was completed during her final year at Cambridge University. Published in 2000, White Teeth became an instant international bestseller - winning numerous awards, making her one of the most sought after and widely read young literary figures. Smith’s most recent book is The Fraud, published in 2023. She is also the author of two short story collections, including Dead and Alive published in 2025, and a play, The Wife of Willesden.
Zadie Smith has lived in Rome and New York, where she taught fiction at Columbia, then joining New York University as a tenured professor of fiction in 2010. In 2023, she was elected to the American Academy of Arts & Sciences.
In this episode of Fashion Neurosis, Bella Freud and Zadie Smith discuss the importance of lipstick, being inspired by the fashion of fictional characters, and losing her entire wardrobe in a fire.
Part of the Vox Media Podcast Network.
Chapters:
00:00:00 Intro
00:00:21 What are you wearing today?
00:01:19 Obsessions
00:02:20 Zadie’s Mother’s Style
00:05:44 Fashion Dreams
00:08:00 Beauty and intelligence
00:12:18 Where to start an outfit
00:14:52 Clothing individuality
00:19:30 If you fancy someone…
00:24:40 Clothes to improve mood
00:33:00 Shyness
00:41:20 Nudity
00:43:30 Dressing like literary figures
00:47:00 Hair
00:50:14 Outro
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