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From ultra-modern athleisure to Savile Row–style suitings, the landscape of women’s work attire has transformed radically over the past decade. While the variety ensures we can finally move away from #ThrowbackThursday classics like shoulder pads and power suits, the shift also has brought countless confusing options. “Dress for the job you want” is valuable advice and all, but how many of us are left wondering, Was there more to that memo?!

To navigate the maze that is modern work attire, we partnered with ModCloth to share exactly how to sartorially highlight your top professional talents. Whether your workplace persona is the boss in charge, the trusted client-facing star on the rise or something else entirely, by following these simple tips from top personal style experts, you can get your clothing to work for you.

If you want to showcase your ... 

1. Creativity

Aesthetics and bold design are your raison d’être, so dip into your vintage clothing reserves to make the ultimate sartorial statement. “Reinvent a vintage menswear piece,” stylist Sara Cooper suggests.

2. Client-facing chops

Client management is only part people skills. To convey confidence, Cooper recommends sticking to a uniform color. “Keep it monochromatic head to toe,” Cooper says. Consider an ensemble of polished separates in the same solid hue the new power suit, tailored to your specific style.

3. Trendspotting eye

You can predict the hashtags that will light up Twitter and pinpoint the “It” bag of next season months in advance. Give your attire the same prescience by adding in an autumnal mainstay: accents at the neckline. “Try a choker or neck scarf and keep the rest of your look classic,” Cooper suggests. Bold neckwear is the ideal finishing touch for a simple suit or shift dress.

4. Leadership

Poise conveys power in every leadership role, and one way to demonstrate your prowess is through fierce pieces in your wardrobe. “Wear red. Nothing stops a show more than a woman in a red dress,” stylist Meg Gallagher counsels. If a crimson dress is too radical for your taste, wade in to the waist with a streamlined red skirt instead.

5. Individuality

What do the wild and wacky street-style stars of Fashion Week have in common? Their idiosyncratic ensembles demonstrate innate individuality ― however outre it may be. You share that sense of whimsy ― but how do you express it at the office? Inject your outfit with a personalized touch for an instant  demonstration of your unique vision. Gallagher suggests finding that one signature piece, like a strong shouldered jacket or a blazer with a nipped waist, you can wear again and again and make yours. Just be sure it strikes “an authoritative silhouette,” she adds. “Black is fine but a color will knock their socks off.” As a bonus, the topper will serve as an extra layer of warmth as the autumn weather cools.

6. Tech savvy

When selecting the perfect accessories for an ensemble, Gallagher has two words for techies: “Statement footwear.” Consider bold shoes a mark of individuality, and an opportunity for further outfit customization. “Rock a funky velvet or embroidered shoe or boot with a neutral colored outfit and let your footwear statement shine through,” the stylist says.

7. Love of numbers

Drawing conclusions from data sets is second-nature to you, so consider clothing yet another code you can crack. To demonstrate an acute understanding of analytics, “Pair a fitted turtleneck with wide leg slacks or a high-waisted pencil skirt,” Cooper advises entrepreneurs. “This shows your ability to edit, keep it simple yet classy and not distract from business.”

Whether you want to demonstrate business acumen or creativity, dressing your best is one strategy for demonstrating your flair. This autumn, ModCloth has the perfect picks for revamping your work wardrobe and achieving your career goals. 

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You are probably quite familiar with Marilyn Monroe the muse, the blond bombshell, the so-called “sexy looking angel.” We’ve heard tales of Ms. Norma Jeane singing sultry renditions of “Happy Birthday,” getting caught in the breeze in a stunning white dress, casually remarking she wore only Chanel No. 5 to bed.

It’s easy to remember the beauty that was Marilyn Monroe as she appeared in pictures or movies. But of course, she was so much more. An exhibition titled “Marilyn: Character Not Image” (curated, oddly enough, by Whoopi Goldberg), aims to create a more complex portrait of one of Hollywood’s most spellbinding celebrities, featuring not just her photographs but her clothing, her poetry, and, yes, even her artwork. 

The drawing above, titled “Lover watching his love sleep,” was made by Monroe herself in the late 1950s, with Conté crayon on paper. The sepia-toned image depicts a woman who may or may not be Monroe herself, unclothed and reclining leisurely while her lover watches on, entranced. 

It’s a simple drawing, but powerful nonetheless, not only in its aesthetic qualities but in what it reveals about its maker. The artwork hints at a different Marilyn than the bold vixen we see on screen. Rather, a Marilyn who is thoughtful, introspective, and creative ― an avid reader and obsessive writer. 

Along with Monroe’s drawing, the exhibition will feature other iconic objects, photos and video footage that speak to Monroe’s multiple, often unseen dimensions. This includes images snapped by personal friend Milton Greene, depicting the star’s quieter moments, playing with animals and taking direction behind the scenes. Also on view are eerie street photographer Weegee’s photos of Monroe, which use dark-room distortions to visualize the bizarre and grotesque effects of Hollywood, fame and superstardom. 

“This show presents a different side to the legendary actress,” a statement from gallery Mana Contemporary explains. “Behind the glamour was a vulnerable, sensitive, and ambitious young woman who spent time writing poems and diary entries to self-analyze, understand, and reassure herself. In these writings, she craves love and friendship, and battles with ongoing pain, heartbreak, and disappointment. She attempts to understand the world on her terms, tries to accept her insecurities and fears, and to become a better artist.”

“Marilyn: Character Not Image,” curated by Whoopi Goldberg, will be on view from Sept. 25–Oct. 22, 2016, at Mana Contemporary in Jersey City, New Jersey. 

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By now, you’ve probably heard that Chip Bergh, Levi’s CEO and president, has a thing about washing jeans. He famously spoke to a crowd in 2014 wearing a pair of jeans that had never been washed after more than a year of being worn. 

Bergh urges people to reduce how often they wash their jeans for environmental reasons, but do we even fully understand what those environmental reasons are? And are there other reasons we should stop washing our jeans so often?

We’re here to break it down. Behold, six reasons it’s really OK to cut back on washing your jeans.  

1. Because washing destroys them faster.

We’re all about a good pair of distressed denim, but washing them too often can turn those dreamy duds into a nightmare ― fast. A downright devastating Vogue article perfectly describes the perils of messing up a pair of perfect jeans with a washing machine.

“I turned the washing machine dial to cold, walked away for an indeterminate amount of time, and when I returned, my beloved jeans lay mangled at the bottom of this so-called cleaning device,” explains author Marjon Carlos. “I was devastated. The soft, smooth texture was hardened by the thrash of the spin cycle and deluge of water; they were paler than last I remembered; the shape was askew.”

THE HORROR.

2. Because, come on, they fit better when they’re a little stretched out.

When’s the last time you were able to really get down in a pair of freshly washed denim? Probably never.  

3. Because jeans take a long time to dry.

And, according to some experts, taking a shortcut is a big no-no. Robert Schaeffer, the owner and founder of high-end denim shop Schaeffer’s Garment Hotel in Los Angeles, once told Yahoo News “the most horrible thing for jeans is putting them in the dryer.” Not to mention, if you wash your jeans in the dryer you’re driving up your electric bill.

4. Because it’s really not that gross to have dirty jeans.

A test done by the University of Alberta in 2009 showed the amount of bacteria on a pair of jeans was “pretty normal” after 15 months of wear without washing. And jeans contained just about the same amount of bacteria after washing and wearing them for 13 days.

5. Because washing machines waste a lot of water.

It may seem like a quick load of laundry to you, but the amount of water necessary to wash jeans with a machine is jarring. Bergh spelled it out in a blog post: 

“An average pair of jeans consumes roughly 3,500 liters of water – and that is after only two years of use, washing the jeans once a week. Nearly half of the total water consumption, or 1,600 liters, is the consumer throwing the jeans in the washing machine. That’s equivalent to 6,700 glasses of drinking water,” he said. He doesn’t explain where the other half of that water goes. However, to get an even bigger picture of how much water every pair of jeans uses, National Geographic says it takes 2,900 gallons of water simply to produce one pair.

6. Because dirty jeans prevent unwanted human interaction.

Want everyone to just leave you the hell alone for a little while? Slap on a pair of your dirtiest jeans. That should do the trick. 

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Yesterday, video artist Mary Reid Kelley was awarded one of 23 prestigious MacArthur Fellowships, which comes with a sweet “no strings attached” grant of $625,000. (Congratulations, Mary!)

The 37-year-old New York-based artist creates absurd black-and-white videos from scratch with her husband and collaborator Patrick Kelley. Together, they re-stage moments of trauma, lust, taboo and betrayal throughout history ― both real and mythologized ― through the lens of women’s roles and gender relations.

Each of Kelley’s films takes approximately one year to make. First, the artist writes the scripts, dense with puns, wordplay and innuendo, playfully and analytically reimagining historical events or literary texts. Then, she fashions an entire black-and-white world by hand, transforming a historical era or literary realm into a tripped-out baroque diorama sprung to life.  

Next, Kelley disguises herself from head to toe, transforming her face into a variety of flattened masks that are part Cubist, part haunted puppet show. Patrick films each work, and Kelley plays each and every role. Together, they edit the piece in post-production. The resulting films are strange little glimpses of parallel worlds in which people look different, talk differently and move differently than in ours. And yet, in this monochromatic, clunky, hallucinatory sphere, the way men and women interact is really quite familiar. 

We reached out to Kelley to learn more about her past work and future plans. 

Your work involves some intense knowledge of history and literature. Were these passions of yours before you began integrating them into your artistic practice?

I was definitely interested in history and literature, but I didn’t integrate them into my painting practice. I thought of it as something separate. This didn’t change until I started working in video. With video, I found I could use a time-based medium to integrate visual work and writing. Video provided a way to unite all these different facets.

Was there a particular text or historical event that first inspired you to incorporate elements of it into your work? 

When I got started, I was inspired by poems and memoirs written during the first World War by people who were actually experiencing the war ― the so called “trench poets.” But there was a much wider world of learning and versifying that I was interested in.

Your work addresses serious topics in history and literature with rhyme, wordplay and plenty of absurdity. What motivated you to address serious topics with an experimental sense of humor? 

It was really the writers and creators who were alive at the beginning of the 20th century and witnessed the first World War who were influences. What struck me was, very often, these people who had experienced very traumatic events, whether fighting in the war or losing family to the war, would use humor to process what must have been trauma of a very serious kind.

Reading these works ― poems by Siegfried Sassoon and Robert Graves ― they are very funny and also very critical. I think it’s important that they’re both. The humor and criticality plays hand-in-hand. So, it’s a model I didn’t make up. I saw it in action, employed by people seeing very sad things. They were inventing new literary forms and approaches to describe trauma and betrayal.

Are there certain figures in art or pop culture today, aside from yourself, you see navigating this space between history and humor? 

I’ll tell you about one semi-obscure piece of WWI literature — The Wiper’s Times. It was a trench magazine, published in the middle of the war by active duty soldiers on the Western front in Belgium. It was essentially a humor magazine, like MAD magazine. It was a parody of British newspapers at the time, like the Daily Mail.

It was a very direct forbearer to something like “The Colbert Report.” Colbert, there, is directly parodying a form of journalism. Through his parody, he is addressing very serious things ― the war, hypocrisy of public figures, even criticizing himself. Those are real models for me. They’re not fine art. One was a newspaper published by soldiers for soldiers, and Colbert is this major media, broadly popular product.

For your work to be recognized this year, there is clearly something about it that resonates very strongly with the current moment. Do you think viewers are hungry for art with women at the center? 

My work almost always has a woman as the central character. This is partly because I play almost all of the roles myself, although I usually am also playing male characters. My work is about women, but it’s also about traditional gender roles and making fun of them, often through me playing a man, playing a woman or playing a monster. Being lighthearted with gender roles, that’s never going to go away. It’s going to evolve, and we’ve seen things evolve. I majored in women’s studies when I was in undergrad. That type of direction in academia has really broadened to include LGBTQ studies, queer studies, queer theory. I’m really glad my work is being recognized at this time so it can be in dialogue with that conversation.

You touched upon the subversive power of role-play in your work. Can you talk specifically about how makeup and costume, which are often regarded as trivial or superficial, can create change on a more substantial scale? 

It’s kind of difficult to point to very many things and say, “Look, this impulse is truly universal for all people and all times.” But I think you really can point to costuming and masks as being universal. Every culture has its own type of theater, its own way of presenting a fictionalized, parallel vision of themselves. I consider my work in makeup and costume to be part of this enormous undertaking that does seem to be part of being human.

In my particular case, even though I’m usually just wearing patches over my eyes, it turns my whole face into a mask. More to the point, it turns my face and whole body into a two-dimensional drawing. The goal is to integrate the figure and its painted look with the background and its painted look. To create a seamless artificial world that is a reflection of reality.

All of your films take place in a handmade alternate sphere. Would you say each of your works takes place in a different world or do you return again and again to the same fictionalized space?

It’s definitely different places every time. Right now, Pat and I are deciding what we’re going to do next. In a way, it is kind of a matter of choosing where we want to go. One of the first decisions we make is: When are we? Are we in the future, in the past? If in the past, are we in the mythological past or the historical past? That determines a lot of where we go, which world we end up in. It’s great to be able to choose.

You mentioned your partner and collaborator Patrick Kelley, who produces all your films. You’ve also spoken about how, as a feminist artist, recognizing artistic collaboration is important to you. Does it feel strange to be receiving this recognition alone? Do you think this reflects the art world’s tendency to portray artists as lone actors? 

We’ve got basically three interlocking situations here. The first is the MacArthur Foundation, and giving grants to individuals is what they do. They only give grants to a single person and they talk extensively in their materials about why that is. Patrick and I understand that, and it meant a lot to us that they mentioned that the work is made as part of a collaboration. Practically speaking, the grant is for both of us. It’s an incredibly liberating financial gift that we’re going to benefit from together.

The art world has a definite lag on recognizing collaboration. If you look at the film world, even the avant garde film world, they know films are made by teams of people. But as artists, it is constantly a challenge for us to explain that we’re collaborators and if you’d like us to come talk somewhere, we’d be happy to do it but we both need to come talk. It’s Pat who holds the camera and does the post-production.

And finally, Pat and I are both feminist artists. We make feminist work. It’s as simple as that to us. I do not think the point of feminism is to turn the tables and put male collaborators in the shade. It’s now very known that female collaborators have been in the shade themselves ― like with Elaine de Kooning and Willem de Kooning, for example. But we’re not trying to make a correction. We’re just trying to be honest about the way we make our work. I think feminism is about presenting reality. Feminists are realists.

In your interview with the MacArthur Foundation, you discuss your desire to make a film that was perfect. What would that look like?

Usually, when artists are engaged in actually constructing work, it’s a very concrete process. You are constantly making decisions. Should the dress be black or white? Should there be polka dots? Especially for something like a film, which takes a year to make, it breaks down into thousands of small decisions that all accrue to make the piece a success ― or not.

One thing that would make us feel like we could come closer to the ideal we both have is taking a little more time. I really hope this will help us be able to set our schedule the way we want it a little bit more.

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Kim Kardashian did her own makeup for a Youtube video, and guys...she might be as good as King Kylie. 

If you follow Kim K. on Snapchat, you know she’s usually surrounded by a team of hair and makeup people who work their beautifying magic on the reg. But it turns out the reality TV queen can do the dang thing all by herself, as she proved with her impressive makeup tutorial.

In the video, Kim shares some helpful trade secrets ― did you know she uses foundation on the back of her neck?? ― and shows off the products she uses. 

As one might expect, Kim owns an assortment of ludicrously expensive products for her face. She uses La Mer Perfecting Treatment as a facial moisturizer, which is cool if you have $264 to drop on face cream. But Kim does incorporate some surprisingly affordable items into her beauty routine.

If you’re not drowning in the Benjamins, here are five products you can actually afford to steal from Kim K.:

Neutrogena Night Calming Makeup Remover Cleansing Towelettes

These are Kim’s “favorite makeup wipe.” You can grab a 25-count pack for $10.99.

Beautyblender Original Makeup Sponge

Kim uses a Beautyblender to blend her concealer and foundation. These bad boys are washable and reusable, and they’re $20.

Anastasia Beverly Hills Brow Wiz

Kim fills in her brows with this pencil. You can snag your own for $27.72.

Kevyn Aucoin Volume Mascara

Kim layers a few different mascaras, including this one from Kevyn Aucoin. You can buy yours for $21.05.

Candy K Lip Kit

Like any good big sister, Kim supports little sis Kylie Jenner’s business ventures. She uses Kylie’s Candy K Lip Kit in the video above. If you’re lucky enough to grab a lip kit when it’s in stock, it will run you $29.

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Congratulations, Rahaf Khatib!

The Syrian-born, Muslim-American mother of three has become the first ever hijabi woman to not only be on the cover of Women’s Running, but to be on the cover of any health or fitness magazine in the U.S. ever. 

According to Women’s Running, the six-time marathoner moved to Michigan from Damascus in the 1980s with her parents, but she didn’t start running until 2012, when she signed up to run a 10k with her son. After the initial race, she was hooked.  

As she began signing up for more races, Khatib realized just how uncommon it was to show up to run in a full hijab ― so she created the Instagram account @RunLikeAHijabi, to inspire other Muslim women in her community to start running as well. 

“I feel like [other] covered women maybe are hesitant to get out of their comfort zones,” she told the magazine. “Maybe it’s a lack of apparel out there; maybe it’s all the negative press about Muslim women.”

But neither lack of apparel nor negative press has slowed her down ― this weekend, Khatib will be running her seventh marathon in Berlin. 

Get it, girl. 

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Menstrual blood is really cool. Did you know, for example, that stem cells from menstrual blood are more powerful than those found in bone marrow? 

Tampons, on the other hand, leave much to be desired. According to ASAP Science, 81 percent of women wear tampons during their menstrual cycle. But the evidence to ditch the tampon is mounting. 

Not only are tampons expensive (thanks, luxury tax), they’re also environmentally unfriendly: Plastic applicators are not biodegradable and contribute nearly 300 pounds of waste in one woman’s lifetime, according to the video. 

Tampons can also contribute to bacterial infections, including the very rare, but potentially fatal toxic shock syndrome, which is caused by Staphylococcus aureus or streptococcus bacteria.

So what’s a person to do? The best alternative to a tampon, in this case, just might be the menstrual cup. It’s cheaper, worn longer than a tampon and reusable. Another option? “Period panties.” Or there’s always good, old-fashioned pads.

Thinking of jumping ship? Check out the video for more.

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This. Is. Major. 

Lane Bryant regulars Ashley Graham and Candice Huffine are joined by Alessandra Garcia, Danielle Brooks and Gabourey Sidibe in the brand’s powerfully simple new ad, aptly called #ThisBody Is Made To Shine.

In the video above, models read actual comments posted to them on social media, ranging from “no one should be comfortable in a size 14” to “no one should be celebrated for their weight” and, in Graham’s case, “you ruined Sports Illustrated” (talking, of course, about her historic cover from earlier this year).

The hateful comments are juxtaposed against visuals of the women dancing around in their underwear and looking absolutely confident while doing so. The point of the campaign, according to a release from the brand, is to “spotlight what it means to unapologetically celebrate themselves in spite of any adverse feelings or feedback.”

The brand hopes that by pointing out both the negative comments and positive responses, other women will be inspired to feel the same way about their own bodies. Brian Beitler, Lane Bryant CMO, explained in a release: “With the steady rise of social media also comes the scrutiny women face on a daily basis ― both in a positive and negative light. #ThisBody Is Made to Shine aims to strip away the adversity experienced and show all women that it is possible to continue to shine despite what anyone has to say. The women in this campaign shut down their naysayers and do what’s right for them.”

Along with Brooks’ starring role in the Christian Siriano/Lane Bryant collaboration campaign, this might just be our favorite shoot from the brand yet.

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We don’t know what’s more troubling. That we’ve somehow allowed “The Big Bang Theory” to exist for 10 seasons or the prospect of marrying your ex-boyfriend on TV. Answer? Both. 

But on this Monday’s season premiere, real-life exes Kaley Cuoco and Johnny Galecki did just that when their TV characters, Penny and Leonard, tied the knot (for the second time) in front of their family and friends. 

Cuoco and Galecki famously dated from 2008 to 2010, but somehow managed to keep their personal lives private, as their alter egos fell madly in love over the course of CBS’ long-running sitcom. 

“It was such a huge part of my life and no one knew about it,” Cuoco said in a 2010 interview with CBS Watch Magazine. “This is the first time I’ve ever talked about it, ever. It was a wonderful relationship, but we never spoke a word about it and never went anywhere together.”

Rumors swirled earlier this year after Cuoco’s short-lived marriage to former tennis star Ryan Sweeting crumbled that the two had reunited after a PDA-filled night at the People’s Choice Awards. No, seriously. They couldn’t keep their hands off each other. 

Cuoco promptly quashed any hope of a “Big Bang” reconciliation after the ceremony with a cheeky Instagram post assuring fans that there’s nothing but love ― friendly love, that is ― between the two co-stars. 

The actress, for one, has moved on with a new man, professional equestrian Karl Cook, whom she began dating around April.

The two regularly post photos of one another on social media to remind you that not only is Cuoco is swimming in cash, but she also has this cute, blond athletic type on lock. 

Watch Leonard and Penny get hitched below: 

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Loving your body never looked so good.

For Lane Bryant’s fall 2016 campaign #ThisBody, actresses Danielle Brooks and Gabourey Sidibe teamed up with models Candice Huffine, Ashley Graham and Alessandra Garcia to promote some seriously awesome body positivity. In the short ad, all five women dance around in their underwear proudly showing off their curves. 

Brooks told People on Sept. 22 that she’s excited to be a part of Lane Bryant’s campaign because she really believes in the message behind it: body love. 

“We have a voice and we have a platform to really change the way that women look at their bodies, and we want to be a part of that,” the “Orange Is The New Black” actress said. “We want to do everything that we can to help push the needle in this world.”

So, basically:

Way to slay, ladies. 

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As we end Cargo Shorts Awareness Half-Week, we take a look back at what’s made cargo shorts so great, who’s responsible for them, and what they’ve meant to the world.

Together we carry on the memories of cargo shorts in the cargo pockets of our hearts.

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Troye Sivan is moving on from a nude photo leak in the cheekiest of ways. 

Earlier this month, a photo that allegedly showed the pop singer-songwriter au naturel found its way onto the Internet. At first, Sivan, 21, responded in jest, tweeting a screenshot of a conversation he had with his management team after the image surfaced. Later, however, he offered a more serious take on the situation, saying it “sucks.”

Now, however, he’s hoping to put it all behind him by temporarily launching a line of unisex underwear. The “Wild” and “Youth” hitmaker, who is openly gay, made the announcement on Twitter Tuesday. 

No doubt other celebrities would shy away from tackling this kind of controversy head on, so props to Troye for having a bit of fun with it. 

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If your nail game is lacking, this is the switch-up you’ve been looking for.

To give yourself longer-looking nails, swipe a clear base coat or a light-colored polish on your nails and put a narrow stripe of a deeper color down the center, according to Cosmopolitan.

It looks like this: 

The trick is gaining notoriety after manicurist Jin Soon Choi used it at the latest Vera Wang runway show at New York Fashion Week. 

Cosmo is calling the trick “nail-contouring” because it effectively has the same contoured effect that a “highlighter above and below your cheekbones does to make them look sharper.”

Choi painted a base coat on the models’ nails and used either a powder-pink white or a blackberry red shade down the center of their fingers. She finished the design with a semi-matte topcoat.

This trick is so damn foolproof ― you literally just need to have a steady hand and a bottle or two of nail polish ― we’re a little ashamed we didn’t think of this ourselves.  

We’ll be back soon, we have some painting to do.

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A video posted by patrickstarrr (@patrickstarrr) on Jul 6, 2016 at 6:36pm PDT

A video posted by NIKKIETUTORIALS (@nikkietutorials) on Apr 4, 2016 at 5:05pm PDT

A video posted by Denise || Artist (@makeupbydenise) on Aug 26, 2016 at 6:40pm PDT

A video posted by E L L A R I E (@ellarie) on Sep 6, 2016 at 2:55pm PDT

A video posted by @sonjdradeluxe on Youtube (@sonjdradeluxe) on Sep 10, 2016 at 2:40pm PDT

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For decades, retail moguls Kris and Douglas Tompkins bought up huge swaths of South American wilderness in hopes of preserving ancient forests and the creatures that live in them. 

Now, nearly a year after her husband’s death, Kris, who spent 17 years as chief executive at the outdoor apparel maker Patagonia, is donating enough land to create what will become Argentina’s largest nature preserve.

The donation is part of an ambitious plan to preserve Argentina’s northeastern Iberá wetlands and restore populations of six species of wildlife, including jaguars, that had gone extinct in the region. Tompkins plans to donate about 341,350 acres, a spokeswoman from her nonprofit Tompkins Foundation told The Huffington Post.

When combined with the adjacent provincial park lands, this tract will create the largest conservation land in Argentina.

On Friday, Tompkins met with Argentine President Mauricio Macri to begin the formal process of turning over that portion of the 6 million hectares she owns in Chile and Argentina that she has designated for six new national parks.

The move comes nine months after Kris Tompkins offered 400,000 hectares of land in Patagonia, Chile ― the remote region after which Patagonia founder Yvon Chouinard named his company ― to be made into national parks.

Her late husband, Douglas, died last December in a kayaking accident in Chile. The 72-year-old, an avid environmentalist, had lived there since retiring from the apparel industry. He founded the outdoor apparel brand North Face and the clothier Esprit. During his life, Douglas and Kris spent more than $300 million to preserve more land than any individuals in history. It’s that land Kris is now tasked with doling out to the governments of Chile and Argentina.

“They’ve really changed people’s perception of what you can do,” Amanda Maxwell, the director for Latin America projects at the Natural Resources Defense Council, told Bloomberg Businessweek in a 2014 profile of Kris. “There hadn’t been a tradition of donating land or a culture of philanthropy in Chile and Argentina in general. And wildlife conservation, like many things, is trial and error, and [the Tompkinses have] had some success.”

CORRECTION: This article previously stated that the lands donated will create Argentina’s largest national park; in fact, they will create the largest nature preserve.

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