Jane is an archetype of the glamorous, classic beauty ilk from the ’50s European screen, somewhere between cult Swedish sex symbol Anita Ekberg and the French icon of cool, Anouk Aimee. Comfortable in her curves, Jane’s nipped waistlines and modest hemlines are inconspicuously seductive and unusually refined, making her stand out among a wave of schlumpy chic. The simple elegance of her high-waisted skirts, white lace gloves, fur stoles, worn-in Chanel bag and natural curls are refreshingly rare compared to what has become an almost a circus-like, trying-too-hard-gone-wrong atmosphere of dressing at the fashion shows. It’s kind of ironic that she freaked out as a child model when a stylist tried to dress her on set – Jane’s been hellbent on being true to herself from early on. I love how unaffected she is by what’s happening outside of her own fantasy world, most evidenced by her favorite dress, the one her grandmother made and wore to her 1930s high school graduation and the vintage silk kimonos she wears to bed. Art Noveau painter Alphonse Mucha is one of Jane’s favorites for his romantic vision of women. Looking at his art, you can see a resemblance to Jane’s messy pinned-up hair, wildly falling in random directions. Jane is a reminder that there is a difference between polished and poser.