Flowerovlove Is the Star of Coachtopia's Fall Content—And the Pop Girlie You Need to Know
Our take
The current cultural landscape thrives on the intersection of music, style, and identity, and Marie Claire’s "Listen Up" series with Flowerovlove perfectly encapsulates this dynamic. The partnership between Coach's Coachtopia and the rising music influencer is more than just a marketing play; it's a strategic alignment with a generation that views personal expression as intrinsically linked to both their sonic and sartorial choices. We’ve seen similar explorations of style influences recently, such as Kaia Gerber’s embrace of the Fendi Baguette [Kaia Gerber Ditches Tennis Whites for a Carrie Bradshaw-Coded Fendi Baguette at US Open], demonstrating the enduring appeal of nostalgic trends reinterpreted through a modern lens. Flowerovlove’s profile – a curator of hyper-specific aesthetics and a champion of emerging artists – positions her as a natural ambassador for a brand aiming to capture the spirit of youthful creativity and self-discovery. This signals a shift away from traditional celebrity endorsements towards leveraging the authority of niche tastemakers who genuinely embody the values of the brand they represent.
Flowerovlove’s influence isn't solely based on follower count; it’s rooted in a demonstrable understanding of subculture and a keen ability to identify and amplify emerging trends. Her ‘MINI SKIRT WARRIOR’ persona is a prime example – a playful, self-aware label that resonates with a generation that rejects rigid categorization. The interview’s focus on the music that informs her style provides valuable insight into her creative process and underscores the importance of authenticity in influencer marketing. It's not just about wearing the clothes; it's about embodying the ethos behind them. Consider, too, the broader conversation around seasonal dressing, as evidenced by the ongoing debate about denim shorts into fall [Yes, You Can Wear Denim Shorts Into Fall]. Flowerovlove’s style, deeply connected to her musical tastes, challenges conventional seasonal boundaries, further reinforcing the idea that personal expression should transcend arbitrary rules.
The significance of this collaboration extends beyond the immediate promotion of Coachtopia's fall collection. It represents a broader trend toward blurring the lines between music, fashion, and lifestyle. Brands are increasingly recognizing that consumers are not simply purchasing products; they are investing in identities and experiences. Flowerovlove’s ability to curate a distinct aesthetic—one that's both playful and sophisticated—makes her an ideal partner for a brand seeking to connect with a younger audience. The focus on her playlist and musical influences is a clever way to tap into the emotional resonance of music, associating Coachtopia with feelings of creativity, self-expression, and individuality. Even the unexpected styling choices, like Coco Gauff’s embrace of a track skirt [Put the Track Pants Away—Coco Gauff Pulled Off a Track Skirt in Fall's Anti-Butter Color Trend], demonstrate a willingness to experiment and challenge established norms—qualities that are highly valued by today’s consumers.
Looking ahead, it will be fascinating to observe how this trend of music-inspired style collaborations evolves. Will we see more brands partnering with emerging musicians and music influencers to shape their brand narratives? Will the lines between fashion and music continue to blur, leading to even more integrated creative collaborations? The success of the Coachtopia and Flowerovlove partnership suggests that the answer is a resounding yes. Ultimately, the question becomes: how can brands authentically integrate into the cultural conversations that shape the tastes and identities of their target audiences, rather than simply attempting to dictate them?
If you ever wanted to know who is on your favorite singer's playlist, or what albums inspired the latest “it girl” the most, tune in for Marie Claire’s resident music franchise Listen Up. In this interview series, we ask musicians about their listening habits and the specific records that informed their taste—and inherently their journey as an artist.
flowerovlove—née Joyce Cissé—wants the world to know she’s more than just “writing about the situationships.” At 21, the multi-hyphenate has dropped three EPs—largely chronicling the ups and downs of romance—and been a staple on the festival circuit with performances at Glastonbury and Lollapalooza. Her music has also nabbed the attention of both Olivia Rodrigo and Hailey Bieber, who used Cissé’s “I Love This Song” for Rhode Skin’s launch campaign.
The British-Ivorian singer-songwriter is making her full-length debut with hotly anticipated MINI SKIRT WARRIOR on August 28. “The songs on this album are about different things,” flowerovlove tells Marie Claire over Zoom, with the 12 tracks exploring everything from girlhood and friendship to growing up and personal style. Her collaboration with Willow, “Girls Will Be Girls,” takes center stage in Coachtopia’s fall content, also starring Cissé.
The musician got her start at just 15 in the fashion realm, booking a print campaign for Gucci. She’s remained a fixture in the space, appearing on runways and photoshoots for Louis Vuitton and Parisian label XULY.Bët—but music is her love language. She began writing when she was just 10, alongside her brother Wilfred, making the move to pursue music professionally in 2020.
For longtime followers, style and imagery have always been integral to flowerovlove's creative identity. “When I’m writing a song, if I can’t think about the visual world, then the song isn’t worth finishing,” the musician explains.
Thematically, “Girls Will Be Girls” delves into female relationships and connection—echoed in Coach’s content as flowerovlove stumbles upon a stoop sale in N.Y.C.’s West Village, spotting a leather flower to add to her purse. “Bags are so important because you carry little pieces of yourself,” she says. “‘Girls Will Be Girls’ intertwines with that—the girlhood of what a handbag is.”
Below, flowerovlove opens up about everything that shaped her sound and aesthetic, from her love of Justin Bieber to why she wishes she could have experienced the Motown era.
Boney M., this disco group that my mom used to be very obsessed with.
Toward my teenhood, [it was] definitely Tame Impala, and specifically The Slow Rush. That album does things to me. I can’t listen to it like a normal person.
Lana Del Rey’s Born to Die, and then [Harry Styles’] Harry’s House. I was a late bloomer [to Lana]. It was during 2020. I heard an unreleased song called “Meet Me in the Pale Moonlight,” and I was like, “Oh, my God. It’s so good.” I love all the uncut Lana stuff. Then I went to dive into her discography and listened to Born to Die, and I was like, “Whoa, this is incredible.”
Justin Bieber and One Direction. Those are the people where I’m like, “I was obsessed with you. I’m still obsessed with you.” I really do love Swag II, but the Believe album—that’s where you got me. [And] My World 2.0. It’s crazy to have “Baby,” “U Smile,” and “That Should Be Me” on one album. It’s his [version of Taylor Swift’s] 1989 for real.
Motown. Everyone was dressed well. I feel like every artist, no matter what stage they were at, was coming with the fits in that Motown era. I would have loved to have been around to see James Brown live—the full experience—or a younger Tina Turner. A show where it’s not about crazy production; it’s just about the music and the artist feeling it.
13 Going on 30 because that’s my favorite film. I feel like I could really touch on some of the feelings Jenna was feeling. I think I make coming-of-age rom-com songs. And I know the “Thriller” dance.
I feel like that at every show I watch. But one where I felt incredibly, incredibly moved was when I saw Kendrick Lamar live at Tottenham Stadium in London for the GNX tour. It was more about the music and the lyrics. When you hear songs live, you feel more connected to them than you would listening to the studio version. It was the way he crafted the show, and more the storytelling. He was telling a story with music.
“Ring My Bell” by Anita Ward. I also wish I wrote “Heart of Glass” by Blondie.
Rosalía. I think we could make something cool and whimsical. We’ve texted a bunch, but we haven’t met yet.
Justin [Bieber], Tame Impala, Rosalía. I’d have people who like to put on an experience. I’d have the most sober festival, healthy festival ever-–just vibes. Also, I would allow people to use their phones. I don’t know why people are so anti-phone. Get the video and get the experience. Get the memory!
“Radio” by Lana Del Rey when I’m really sad because the melodies are so sad, but then the chorus is like, “Now my life is sweet like cinnamon,” and I love that sentiment so much.
I also dabble in [Prince’s] “Purple Rain” when I’m really sad, because the song is about seven minutes long. It’s like, okay, I can give myself one song and give myself this long moment to be sad about this.
“Millionaire” by Kelis and André 3000. I feel like that gets people to bless the moon. Or I would play “Kiss” by Prince.
“Side to Side” by Ariana Grande, or I listen to frequencies because I want to be with my thoughts while I’m working on my body.
The kids who always felt like an outcast and felt like there was more out there for them.
On the deluxe, there’s a lyric, “My outfit’s so jumpin’ / I call it fitness.” It was just really funny to come up with that lyric. It felt quite vintage, too. A lot of my new songs are going to be Donna Summer-inspired. It felt like a lyric I would hear and be like, “That’s so random, but I love it.” It makes me laugh.
Then one of the sad ones—a very, very simple one—is on “Girls Will Be Girls:” “Gotta thank my mom for my life.” We really do. Our mothers sacrifice so much for us, and we have to consciously always remember that and work with that.
Tame Impala’s “Let It Happen” because I’m in a very accepting part of my life. I’m letting things flow. I’m in control of them, but I’m also letting go of possessiveness over how things happen and how things unfold.
This interview was edited and condensed for clarity.
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