look to fashion’s so-called female gaze designers to
communicate their message.
The recent remake of Ingmar Bergman’s Scenes from
a Marriage championed the same aesthetic. In the
perfect portrayal of Mira Phillips, Jessica Chastain gave
us silk blouses, effortless tailoring and a selection of
luxury cashmere that succeeded in, momentarily at
least, stealing the spotlight from her co-star Oscar
Isaac. The key labels included the New York label the
Row and Theory, an essential brand for modern
power dressers.
In the new spy thriller Slow Horses Kristin Scott
Thomas cuts a similarly chic figure with a ward-
robe of quietly powerful trench coats and
supremely well-cut pencil skirts serving as critical
components in her wardrobe armoury.
There are also elements of this stealth wealth
aesthetic in the latest series of the BBC1 drama The
Split. In character as a slick, metropolitan divorce
lawyer, Nicola Walker wears a considered edit of white
suiting and cashmere overcoats.
Given that all these shows were created amid the
pandemic, there’s a sense that TV’s new style heroines
are presenting us with a sort of romanticised view of
workwear. Indeed, the glossy daywear we see Sophie
Whitehouse do the school run in and the power jackets
possessed by Walker’s Hannah Stern in The Split are
about as far removed from a lockdown tracksuit as one
can possibly imagine.
“It was so good for the soul,” says Perry of working in
this way. “We were drawn to the most beautiful things.
It gave us a chance to think about the clothes with fresh
eyes and really consider elegance.”
There’s also a sense that the most watchable women
on TV right now are inspiring us to indulge in post-
pandemic glow-ups. As we re-engage with life beyond
the realms of our own postcodes, we need grown-up
and glamorous wardrobes to match.
Retailers have been quick to pick up on demand,
with platforms such as Matchesfashion noting
renewed interest in a look it describes as “understated
luxury”. “Our customers engage strongly with knit-
wear, outerwear, denim and modern wardrobing with a
relaxed aesthetic in luxurious fabrications,” says Liane
Wiggins, head of womenswear at Matchesfashion. She
highlights brands such as Charvet, Totême, Raey and
Gabriela Hearst as among those appealing to its high-
paying, high-performing customer base.
To comprehend fully this style phenomenon is to
recognise the appeal of the Row, which as well as being
a favourite of Sophie’s (the white dress that features in
the first episode is its handiwork) is a go-to for fashion’s
one-percenters. With its £350 T-shirts and supremely
cut but ubiquitous trouser shapes, the Row is clothing
for those for whom money is no object but who don’t
want to look rich. Or at least not rich in the “in your
face” sense. Its USP is timeless clothes that empower
the wearer with simple luxury. The downside is the
thousands you’ll need to earn to afford it. ■ @karendacreAnatomy of a Scandal is on Netflix from Friday1 Wrap jacket, £700, Totême; matchesfashion.com. 2 Wool
jumper, £525, Raey; matchesfashion.com. 3 Wool trousers,
£790, Gabriela Hearst; selfridges.com. 4 Silk shirt, £200;
theory.com. 5 Bag, £2,950; celine.com. 6 Braided sandals,
£950, Gabriela Hearst; net-a-porter.comNo tracksuits allowed!
The stealth wealth edit
64325136 • The Sunday Times Style