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- [00:00]
A
I called Lupita, I said, I need you for just a few minutes. This is the dress. And she came over, she tried it on. We freaking loved it. It was incredible. We got goosebumps. And then the dress left, right? And so without trying on anything else, that was it. That's how that moment happened. And that moment solidified her, I think, as a fashion icon.
- [00:27]
B
What's going on, everybody? And welcome to Collector's Gene Radio. This is all diving into the nuances of collecting and ultimately finding out whether or not our guests have what we like to call the Collector's Gene. If you have the time, please subscribe and leave a review. It truly helps. Thanks a bunch for listening and please enjoy today's guest on Collector's Gene Radio. Today's guest has shaped some of the most unforgettable silhouettes to grace the red carpet, from Meryl Streep to Lupita Nyong'.
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A
O.
- [00:57]
B
But behind the Hollywood glamour is a mind wired for history, preservation and obsession. Michaela Erlanger is my guest today, and she's not just a celebrity stylist. She's a fashion historian and a true collector at heart. Her eye goes beyond surface beauty attuned to instead the rarity, provenance and quiet stories stitched into every seam. We explore what it means to collect clothing not as a trend, but as a legacy. From forgotten ateliers to her own personal archive, Michaela takes us inside the thrill of the hunt, the heartbreak of the one that got away, and the invisible line between dressing someone and making history. So without further ado, this is Mikaela Erlanger for Collector's Dream Radio. Mikaela Erlanger, so excited to have you on Collector's Dream Radio today.
- [01:41]
A
Thank you so much. I'm excited to be here, too.
- [01:44]
B
It's great. You're one of the first, if not the first, I'm not sure, folks that have had on that we're going to talk about all things styling and vintage fashion and all that stuff. And you're obviously extremely well known for what you do. You've worked with some of the biggest names in the world, but for all intents and purposes, you're a collector. So let's maybe start off by telling the listeners maybe the last thing that you collected that you were really jazzed about.
- [02:11]
A
Oh, boy. I mean, I've been building this collection from, gosh, some of my earliest memories. I mean, from the things I inherited from my grandparents or things I've picked up along on my travels. So I recently acquired an incredibly special dress that was designed by Tom Ford and it was one of only a few that were produced. And it actually was looks very much like a wedding dress, although it's not, and I'm waiting still to get a lot of the documentation on it. But it is, if not one of one, one of very few that were ever made. And I got it not knowing where or when I'd wear it, or if it would just be one of those precious things that sits in your closet that has sort of its moment later in time. Because I do collect that way. Not everything is with the intention of being worn for a particular moment or event. And my sister recently got married, but didn't get to have a wedding. And so part of me thinks that maybe this will be her something borrowed when the time comes. So it's pretty darn special.
- [03:30]
B
That's amazing.
- [03:31]
A
Yeah, it's really spectacular. And then I also recently acquired a very special Versace couture piece that walked the Runway back in 91. I think it is phenomenal. It's fun. I've worn it a bunch of times. It's this fabulous two piece crystal mesh little set, and I love it. I actually have a tremendous amount of Versace, which is funny because I wouldn't necessarily consider myself a Versace girl under sort of today's creative. But looking back at a lot of the pieces that I own, they're 80s and 90s and I have a tremendous amount of Versace.
- [04:15]
B
So I'm so fascinated about the world of being a stylist, but also being a collector. So I want to. I want to ask you a question real quick about the Tom Ford dress and even the Versace dress, if you will. I mean, do these brands keep. I know they keep good archives, but are they accessible? I mean, are you able to reach out to a heritage director and say, hey, I just got this piece. Can you get me an archive on it?
- [04:37]
A
Yes. Or can you get me authentication on it and so forth. And actually, I apologize because I should clarify that it was Tom Ford for Gucci.
- [04:45]
B
Oh, well.
- [04:46]
A
So even then, I mean, the creative directors, you know, even then, I mean.
- [04:50]
B
Gucci has a very extensive archive. I'm sure it's archive. I'm sure it's in Milan. I mean, are they willing to dig through and get you some information?
- [05:00]
A
Yeah, you know, it's always case by case. And I think, you know, I acquired a bunch of vintage around the time that I was getting married. This is now. You know, five years ago, I had some vintage Chanel, a bunch of vintage Versace, some vintage Dolce. And, you know, vintage comes with a little bit of wear and tear. So I actually reached out to the brands, and thankfully, as a stylist who's worked super closely with these houses for many, many years, you know, I had these deep relationships. They kindly restored a lot of the pieces on my behalf, and that was phenomenal, because, you know, vintage doesn't always fit perfectly either. And so you want to maintain the integrity of the piece. You might have to make some repairs, you might have to make some adjustments. You might also want to know more of the provenance and story. And so I'm so grateful that I am able to sort of, you know, get access to that information and access to that restoration. That is such a beautiful thing. There was a Valentino gown that I acquired, like, five or six years ago from Shrimpton Couture, and it was a one of one. And I had reached out to Valentino, I bought it, and it was completely unlined, and I reached out to Valentino to see if they could show me a Runway picture or give me additional lining fabric and. Or help me with it. And it actually sent us down this, like, rabbit hole because the team there couldn't actually locate it for quite some time in their own archives. You know, it had the tags, it had all the labels. It had the. The history of the piece, it had the style number on the tag, all the information, and it was totally real. And ultimately, we found out that it was an old sample that never got produced from their couture collection that must have been sold at, like, either to a private client or through a sample sale of some kind. And they had gone on to make other variations of this gown that they produced. They showed, and they sold, but this was one that never came to light. And so it was kind of an amazing story at the end. It made the dress even more special because of that. And when I found out this information, I shared it with Sherry from Shrimpton, and, you know, she was just as excited as I was, because it's like, we had uncovered this dress.
- [07:32]
B
Well, it's kind of one of one.
- [07:33]
A
Oh, it totally is.
- [07:35]
B
And that stuff never really happens, right? I mean, like, no, it doesn't.
- [07:39]
A
That's a pretty, like, unusual story. And I think that's also kind of, like, why I love vintage so much and why I love collecting so much, is that all of these pieces tell a story and have some sort of lineage attached to them. And the discovery of that is part of the fun. And so, anyway, long story short, they Helped me with making a slip. I was able to wear the gown. I've enjoyed it many, many times. And, yeah, it's a very special piece. And so suffice to say, you know, I'm so grateful for the access and the relationships that I have with the houses to be able to, you know, take care of the pieces that I now acquire and own and enjoy.
- [08:25]
B
I love that. And so, I mean, you're. I mean, I would say a lot of stylists probably also collect, but I'm curious to know, what's that juxtaposition like? I mean, are you styling people in some of your own personal collection, or do you have a whole separate archive that you use just for styling? I mean, you also have to go out and source pieces, let everybody in a little bit through the, you know, let them into the parlor, if you will, of how all this works.
- [08:50]
A
Come on in. So, you know, it works a number of different ways. I don't typically lend out my personal collection because a lot of these pieces, A, are incredibly valuable and B, really are not to be tailored to anyone other than myself. And so. And they require a great deal of care. So I am quite sort of particular around the things that I've acquired over the years. However, I do use vintage all the time in my work, whether it is sourcing vintage for my clients to wear for public appearances or red carpets, or even referencing vintage when I'm working with the design houses on creating custom designs. And so working with the houses to reference their archives, working with the houses to put together mood boards that may reference other designs or details or techniques. And so it really plays a very important part in my work. And I have had countless red carpet moments where clients have been in, you know, vintage or vintage haute couture. One of the earliest red carpet moments of my career was when I was working with Lupita Nyong' o for her campaign for 12 Years a Slave and for the awards season. And I put her in a vintage Valentina dress, not to be confused with Valentino vintage Valentina. And it was actually like, very surprising, I think, at the time, for people to see vintage on the carpet. Then I think that the sort of idea around wearing the new, new, you know, hottest item on this season's Runway, that sort of concept and approach to styling has really changed, and I'm so happy about it. So back then, it was, I think, surprising for people to see my client in, you know, quote, unquote, an old dress, you know, even though it was very special and, you know, A work of art. It wasn't sort of the norm nowadays. You know, that was 13 years ago or 12 years ago, something like that. You know, nowadays, I think we have seen this incredible resurgence thanks to popularity in the secondhand market, thanks to conversations around sustainability, and also, just, like, general shift in trends in the fact that, like, designers aren't putting out the same amount of product assortment in their collections anymore. And so, as stylists, we had to get even more creative and more resourceful. And when you find something special that's one of a kind, that, to me, is just as exciting, if not more than having access to the newest, latest, and greatest and, you know, the hunt and the story that comes along with it, I think is equally as exciting and powerful.
- [11:50]
B
Yeah, I mean, I think the interesting thing is, right, like, when you're styling someone, every situation's gonna be different sometimes. Sometimes it calls for a vintage moment, Sometimes it calls for something that is brand new. Sometimes it's more contemporary. Right. When do you make that decision of, I'm going to put you in vintage or you're going to be in something that's a little bit more contemporary? I mean, does it have to go with the event? Does it have to go. What is the catalyst that makes you go one way or the other?
- [12:20]
A
Well, totally. I think one point to clarify is that there's a lot of vintage that still feels contemporary. It just depends on who the designer was and what the period was and.
- [12:30]
B
Well, and those are the collectible pieces. Right? The stuff that's lasted.
- [12:33]
A
Exactly. I'm talking more about, like, is it new or is it, you know, 20 plus years old? So, you know, I think it really comes down to a number of things. I think it comes down to the client. I think it comes down to what is it that we are promoting. Is it a red carpet event? Is it an advertising campaign? Like, what's the appearance? You know, is it an award show? Is it a movie premiere? You know, all of these sort of different variables. And what is the intention behind getting dressed that day? And so I always work off of a mood board with my clients that we've sort of agreed upon. And I always work with my clients on a mood board ahead of time to really align on the general vision and direction of whatever press tour, or if I'm on an advertising campaign, I'm working with, you know, the creative leads there to make sure that we're aligned on what the vision is, whether that's the photographer, the art director, you know, producers, whomever, the ad agency. To really get clear on that. And then it's time to source. And just as I look at the current collections on, you know, Vogue Runway, I'm also equally looking at the vintage collections. And for me, this isn't, again, something new. This has always been a passion of mine. It's something I've included in my process of styling from day one. But there might be times where there are reasons to call upon vintage pieces more so. So it's not even really client specific. It's more just creative specific.
- [14:16]
B
Yeah. And what would you say the split is between finding something that you have in your archive for the client versus having to go out and source it?
- [14:24]
A
99.9% of everything is being sourced it. You know, the way we work typically with the houses at least, is things are on loan. Right. Or they're being made for a client. And even when they're being made, they're still being returned to the designer's archives. Right. They belong to the designer. They are kept in their archives for, you know, future exhibitions or retrospectives and so forth, and their, you know, own design needs. And so what comes in has to go back out, and it's not often held. And a lot of time, again, times have changed depending on the vintage dealer or depending on the house, if they're willing to open the archive, which many do for me, which is an incredible privilege, a lot of the vintage dealers these days will also consider lending, but it has to be lent for a short period of time, literally worn and returned or rented. So unless the client really wants to buy and has a passion for collecting vintage like I do, or falls in love with a piece that they can't let go, it's all being sourced for one time use, certainly.
- [15:33]
B
And let's say a brand decides, you know, we'll make this piece, but we're going to obviously keep it in our archive forever or for however long for future exhibitions, like you said. Are they comping whatever those costs are because they're keeping the piece anyway?
- [15:48]
A
Yeah. So typically it is the sort of exchange, if you will, when a designer is making something for a major appearance. They're making this in exchange for the press value. Right. And the return on the investment is the press value. So they are making the garment, you know, taking care of that process and the expense of producing it, and it's being worn and photographed and seen around the world. And the metrics are crazy. The exposure that these brands get, both big and small, is really powerful. Of course, you know, there's bigger events and smaller Events. So brands will take that into consideration, of course, when deciding if they're going to make something. But we're borrowing the current seasons, even the past seasons, and the past archives much more fluidly. And, yes, it's all for loan.
- [16:44]
B
Well, not every person is the same. Right. So I'm assuming alterations have to almost always be in place. I mean, it can't be. It can't be that often that something fits like a glove, right?
- [16:53]
A
Correct. I mean, unless you are the same size as the fit model or the Runway model, sure. No, just about everything requires alterations. If it is a Runway look, if it's a commercial collection, there are times when sizing might be available. Of course, we're seeing more inclusivity on the runways now. So there might be a range in sizes that have walked the Runway, but yes, I mean, tailoring nine out of ten times is happening.
- [17:18]
B
What about with vintage, though? I mean, vintage is a really touchy subject.
- [17:22]
A
Yes, vintage is a touchy subject. And that is always case by case.
- [17:26]
B
Right. I'm assuming the marketing efforts have to be worth it enough for the person who owns the vintage piece to say, yeah, I want to see this piece and do whatever you need to do to it.
- [17:37]
A
Yep, correct. And so that always involves, at the core, trust and communication between myself and whomever is behind the vintage garment, whether that's a, you know, vintage dealer, a private collector, a house, et cetera. There has to be full transparency, and we request approval ahead of time. And there have been times when I've been told, sorry, no, you can't make that change. And I say to my client, sorry, no, you can't wear this dress or whatever it might be. And there are other times where they say, perhaps we're okay with this as long as you tell us what the alterations are. Perhaps their seamstress has to do the work. Perhaps the alterations have to be reversible and reversed. You know, perhaps a credit card has to be put down. Like, any number of different scenarios can happen. There's also times when the houses, if they're opening their archives to us, perhaps they don't want the original original garment on the red carpet or shipped or this or that because of concerns around wear and tear. And sometimes they will then reproduce the piece to the client's measurements, and it is a copy of an archived dress that is less common unless it is a big award show, and that ultimately then falls into a custom, you know, the custom design category. But, yeah, it really. It varies. I mean, if you look at Zendaya, when She wore that incredible Mugler. What was it? It was like that robotic piece. It was iconic piece that La Roche styled her in. That was his work, not mine. It was sensational. And what was so sensational about it was not only was it the perfect look for her Dune Premier, but it was the actual Mugler piece itself. It was not reproduced. It was pulled from the archive. And it was one of those scenarios, Law has talked about it on other podcasts, where it was either gonna fit and work and they were gonna allow it or it was not. And they. That was the end of the conversation. And it, like, that was a magical moment. Like, that was the perfect look for the perfect client, for the perfect occasion. And that's just when the stars align. And. And those are the moments that go down in history, right? Or when Natalie Portman wore the reproduction of the Juno dress in Cannes last year from Dior. That was spectacular. She didn't wear the actual dress that was in the archive. They remade it for her for a global event. It was made pretty much identical to the original, you know, and by the House of Dior. And that too had the Internet ablaze again. Perfect dress, perfect person to wear it, and perfect moment to see it shine.
- [20:38]
B
How often does the client want to purchase the thing that they're being styled in?
- [20:43]
A
You know, I think it's so client dependent. My clients are not as fashion obsessed as I am, so I have not run into that myself. I think they enjoy and deeply appreciate the artistry and the beauty of getting to wear these things. But unfortunately, in our culture, this idea of wearing things more than once or twice is rare. I think there have certainly been occasions where brands have gifted dress where perhaps the clients won an award and now it goes into a museum instead of a storage unit. You know, there are. There are certainly exceptions when clients have asked, can I please hang on to this or can I buy this? But it is rare. I find it's me. I'm the one.
- [21:30]
B
I mean, are you ever buying any of these pieces?
- [21:32]
A
Yes, I buy stuff all the time. It's a problem, it's an illness. But I have a beautiful, incredible collection of things that's, you know, continuing to grow. And. And I'm so proud of my own archive. And right now I'm actually going through the whole appraisal process. It's also so interesting because a lot of the pieces will, you know, the values and appraisals also spike around demand and popularity of a designer and of a house. And so it's really interesting to see the ebb and flow. I've got a ton of Chanel that's just. It's from Carl's days. And, oh, my God, the pieces are phenomenal, and I wear them a lot.
- [22:18]
B
I think the interesting thing about vintage fashion is that it. It does always revolve around whoever the creative director was at that time or what was going on with the business at that time. You know, for example, Tom Ford and Gucci, or, you know, Carl being around. Do you find that sometimes the provenance of the creative director who was working on this at that time holds almost more value than the piece itself?
- [22:41]
A
Yes, I do. It's interesting because you can look at that value as a. Right. There's like, the monetary figure that's attached to it. Right. The price attached to it. But then there's the sort of more historical importance and value that's attached to it. Right. The story of it and the provenance that that holds. And. And personally, I collect not because I'm looking to, you know, build out collection that's worth a lot. I'm collecting things that have meaning to me and that bring me joy or that have a story or that are interesting because of who made them or where they came from. And so for me, the value that I attach to things is rooted more so in where did it come from? Under whose creative was it? Maybe who wore it or where did it come from? Or, you know, why was it made? And also, like, what provenance am I adding to it, you know? Yeah, certainly I have a role in the story of these pieces as well. And so that's pretty cool.
- [23:57]
B
Have you ever walked away from a piece and obviously you couldn't stop thinking about it?
- [24:03]
A
Yes, I still have remorse. This happens frequently, but I only have. I have a, you know, allotted budget to buying my vintage every year, and I try to stay within that. There are exceptions to the rule, but there's two things I can think about that I will just never get over. The first was I had the option to acquire the last ever haute couture Chanel wedding dress designed by Coco herself, and it was a masterpiece. Now, at the time I was married, I didn't need a wedding dress for no reason, but it was the story behind it. It was so beautiful. It was so special, and I just. I couldn't unsee it. And the documentation and all of it was just out of this world. Well, I'm divorced now, so I wish I had it but for that future wedding, but that is something I will never forget. And the other piece, again, Is Versace so funny. I'm so much Versace. This is a dress that I think Christina Aguilera wore. It was the chainmail butterfly dress. I think she wore it to be amazed, if I recall correctly. And it was also. There's, like, an iconic photo of Kate Moss and, I think, Naomi walking out of a party, early 90s. And the two of them are in, like, twins of the dress. Like, they're slightly different, but they're very similar. And this was one of those actual dresses. I mean, just phenomenal. And I just didn't move fast enough on it.
- [25:52]
B
And it happens.
- [25:54]
A
It happened. You know, I was like, should I? Should I not? It's really expensive, but so special. I'll totally wear this and enjoy this. But, like, I probably shouldn't do this right now. And alas, here we are. And you never know. I mean, these things might resurface again too.
- [26:12]
B
So it also happens, you know, I mean, stuff. Stuff comes back around, and sometimes it goes to auction. Sometimes you know who bought it, and they're ready to move from it, so totally. Do things ever find their way out of your collection to make room for other things, or are you keeping everything that you buy?
- [26:28]
A
The answer is yes, but very selectively so. There are things that I hang on to for sentimental reasons. There are things that I've never even worn, but I'm never gonna let go because they are just so special. It is pretty rare for me to be willing to part with something, but there have been moments where I'm like, this dress deserves a new home. You know, it's. It's lived its life with me. It's like I talk to these sort of inanimate objects. Like, they're. But I have that, like, real experience, you know?
- [27:05]
B
Yeah, all collectors do.
- [27:07]
A
Yeah, that's kind of. That's how it feels.
- [27:10]
B
How has your collecting evolved over the years? I mean, are you jaded now? You've seen so much stuff? Are you only interested in ultra rare, very coveted pieces, or are you still just buying what you like?
- [27:21]
A
I just buy what I like. Honestly, I mean, I. I mean, I am so fortunate that I have, you know, incredible resources and I get to see so much, But I buy things for, like I said, the joy, the beauty to be able to wear them. Sometimes not, but most of the time I do, and to hopefully also be able to pass them down or to be able to share in their story. And so for me, that doesn't mean it needs to be the rarest, greatest thing. I mean, I. I go to the secondhand shops just as much as I do, you know, the big vintage dealers or the auction houses. And so for me, it's really varied. It could be something as pretty as like a, you know, unsigned Monada Ray clutch that's just like, so beautiful and, you know, has no label, but makes me smile. And it will be my evening bag. You know, it's. It's like little things too. It's not just the big, you know, more recognizable things, although I do have big, quite a lot of that in my own collection. But I equally appreciate the sort of the discovery of smaller brands or things that just make you smile.
- [28:46]
B
What's your process for preserving and protecting your collection? What do you recommend people do if they have a special piece at home that, you know, should be stored and taken care of properly?
- [28:56]
A
Absolutely.
- [28:57]
B
So that you can buy it from them one day?
- [28:59]
A
Yeah, there is one place and one place only. It's Mecca, in my opinion. It's called wovo and they are an arts and wardrobe storage facility that services worldwide, but is here in New York in Long Island City. It is, in my opinion, the only trusted resource for this kind of thing. They do restoration, storage, and the care and delivery of pieces in case you don't have room for them but want to enjoy them. And they're a pretty phenomenal resource. So a lot of designers store their archives with wovo and a lot of clients like myself, you know, I live in New York City. Closet space is really valuable and hard to come by. I need to also care for very high quality things. And so they are a white glove, phenomenal service that will come, pick up everything, inspect it, do a report on it, make suggestions for repair and cleaning can facilitate that, document it, store it correctly. It's in the most spectacular facility. And it's also cataloged so that you can easily go onto the app and see what you have in storage and select delivery if you so need to get access to something to. To wear it or, you know, work with it or whatever it might be. I've actually been working with them for a very long time. I want to say over a decade. I've sent a ton of clients to them and I've worked with them, you know, in my own life. They are phenomenal. The other thing that's cool is they also do, you know, storage for art, storage for wine, and I think storage for some other things. And it just is a testament to the quality of their facilities. Right when you're working with other collectible things outside of fashion. So it is Phenomenal.
- [31:16]
B
Is it all digitized? You can see.
- [31:18]
A
Yeah, it's all digitized. And. And then they'll deliver your clothes anywhere in the world like they are. It is a incredible service and resource that I hope more people know about now.
- [31:30]
B
Amazing. How do you spell it?
- [31:32]
A
Wovo, U, O, V, O.
- [31:34]
B
Awesome. Yeah, we'll be sure to link that up because that sounds pretty incredible.
- [31:38]
A
Yeah, actually, I, I just had a call with them because I'm, I, I've bought more things. Oops. And I definitely.
- [31:47]
B
Shocker.
- [31:47]
A
To make some room for them and. But in particular, I'm prioritizing storing my vintage with them because I know that their capabilities and resources are so phenomenal.
- [32:00]
B
Yeah.
- [32:00]
A
But everything like your shoes, your accessories, doesn't matter. You can store it all there. So it's really great. And then, you know, I think other sort of recommendations I have, you know, I have a Rolodex of the absolute best cleaners, repair places. Like, this is my world, right. As a stylist. Like, I know the best seamstresses, I know the best tailors, I know the best cleaners. I have the most incredible Rolodex of solutions. Rose's Laundry is a phenomenal resource. She's actually in New Jersey, but she works out of. She does a lot of pickups in the New York area and she's a master at what she does. And there's a bunch of others in Manhattan and, you know, the list goes on and on. And I'm happy to share them with you if you want to include them in your write up of this or any other materials you may have. But, yeah, I mean, it's really important. You know, care for your things is just as important as enjoying them when.
- [32:57]
B
You'Re collecting for yourself. I mean, how much does condition matter when it's for you and your archive? If it's something special, but the condition's not absolutely mint, I mean, does that bother you or, you know, what are your bugaboos and what are your leniencies?
- [33:11]
A
Yeah, it really depends. I had this incredible jean to say haute couture piece from the early 50s that has very, very faint marks. It looks like whomever wore it was enjoying a glass of champagne and maybe had a little sprinkle down the side of her dress. And I kind of love it because, you know, whoever wore this dress was enjoying themselves in it, but it's so faint and hard to see. It would never read in a photograph or something like that. And it didn't bother me. And the interior of the dress is completely falling apart. I mean, the underwire is barely an underwire. The zipper has never been replaced. Like, it is the lining, you know, the, the silk or the acetate or whatever it was inside of the gown is like totally torn. And I love it. I love it so much. I think I would repair something if it was going to damage the enjoyment of wearing something. But I try to keep the integrity of a piece for as long as I can. You know, I never want to remove a label. I never want to really alter anything. If a zipper breaks, okay, fine, you might have to replace that in order to wear it. Right. That's just the reality. But I'm pretty open minded. And then whenever I do alterations on my own pieces because I'm, you know, five, two and a half and, you know, very petite, you know, I wind up doing reversible alterations. I don't think I've ever cut anything that I've owned. I'm like, it gives me pain to think about that. And that's just my own personal preference. So sometimes I won't buy something if it means I'm gonna have to totally, you know, transform it.
- [35:03]
B
When, you know, you're working with a client, you know, obviously they, they're putting their trust into you based on your taste. But how often does the client, you know, ever want to collaborate in terms of, hey, this is what I'm thinking, or this is what I'm into, or is it really just full reins? You know, you do what you got to do.
- [35:21]
A
You know, it's so funny. My clients really run a full spectrum. I have some clients that are deeply collaborative and they enjoy the process, as do I. And we bounce ideas around and it's really is like a beautiful experience and that is like, rooted in a lot of trust and communication. And I have other clients where they're just not so interested in fashion. It's just not their area of expertise or interest or whatever. You know, their thing is music or their thing is acting. And like, that's great. Like, let this be where I can step in and help educate you and help show you and help guide you and we'll find our way together. And then I have, I have, I don't currently have. I have had clients that are like, fully invested in the creative process. Like, they're kind of telling me what they want and then I'm executing on it. And that's funny. That's like a funnier dynamic. I don't mind it at all. Of course, it's still collaborative, but I feel like it is a very different dynamic when you have maybe a slightly different vision for someone than they do. But what's cool is when you're able to find that common ground.
- [36:44]
B
Is there a styling moment, maybe, that you're particularly proud of? Not necessarily because it was the most visible or glamorous, but maybe because it just perfectly embodied the story that you wanted to tell. And it's something that you always go back and reference.
- [36:57]
A
I mean, I'll never forget Lupita's red Ralph Lauren gown that she wore to the. What was it, 2013 or 2014 Golden Globes. The same year that she was promoting 12 Years of Slave, the same year she won the Oscar. And the reason I'm talking about that dress was it was the first and only dress that we tried on. I saw it walk the Runway. This is obviously a new collection piece, right? And I called the team at Ralph right away, and I said, that's her dress. Like, how soon can you get it to me? And it was actually at Vogue. So it had literally gone from the Runway to Vogue. It was in consideration for a Vogue cover. And I said, I just need it for an hour to try on my client. Can you just get it to me for an hour? So I got it. I called Lupita. I said, I need you for just a few. A few minutes. This is the dress. And she came over, she tried it on. We freaking loved it. It was incredible. We got goosebumps. And then the dress left, right? And I'll never forget, the brand was like, listen, if we pull it for you, then it's not going to be shot for the COVID of Vogue. So we need to know, and we need you to confirm if this is actually really happening. And so without trying on anything else, that was it. That's how that moment happened. And that moment solidified her, I think, as a fashion icon. And I think that moment was a very important turning point in her career and in my career. And also, I think it was a really important moment for Ralph Lauren to have that presence on the Golden Globes with that particular client wearing their gown. It was. It was so special. And, yeah, I don't think I've ever told that story before, so that's exciting. Yeah, that's one that I really love. And then, of course, there have been others. I mean, there's so many. It's really hard for me to. To pick and choose.
- [39:02]
B
I love it. I mean, for Ralph to say, yeah, we're going to skip the COVID of Vogue, and we want, you know, her to be in this dress and wear it, I mean, that's. That's as special as it gets.
- [39:11]
A
It's as special as it gets. Sorry, Ann. But now the gown is in their archive, ironically, and I'm so grateful I've gotten to visit the Ralph Lauren archive, which is, I mean, one of the most spectacular archives I've ever had the privilege of seeing.
- [39:31]
B
I've oddly, had the pleasure of seeing it as well. And it is probably the most insane building.
- [39:37]
A
Insane. Insane.
- [39:39]
B
Yeah, It's. It's. It's madness. And the way it's set up is. Is incredible.
- [39:42]
A
I don't totally.
- [39:43]
B
It used to be a secret thing. I don't know how secret it is, but.
- [39:46]
A
Yeah, I don't know how secret is anymore or after this podcast, but. But now that dress, I call it a Sleeping Beauty because it's in a drawer in tissue, you know, like, kind of like a art filing cabinet, you know, and it's. It's in there getting her beauty sleep, you know, maybe it will be unearthed again. But it's a very special dress that I guess is almost vintage, so I love it. Yeah.
- [40:14]
B
Well, on that note, let's wrap it up with the collector's gene rundown. You know the drill here. You can answer these questions based on any of the things that you've collected, whether they're for yourself or for a client or any special memory that comes to mind. So the first one is, what's the one that got away? And you may have answered this earlier, but what's the one that got away?
- [40:32]
A
The one that got away is the Coco Chanel gown, the last gown she ever designed.
- [40:38]
B
All right, we're putting it. Putting it into the ether for it to make its way back to you.
- [40:42]
A
Thank you.
- [40:43]
B
How about the On Deck circle? So what's next for you? Collecting? Maybe something that you're hunting after?
- [40:48]
A
You know, actually, my interest has turned a little bit towards jewelry. And so I've been thinking about what I want to get myself for my 40th birthday, and I think it's going to be a. A vintage piece. I love Belperon. I love Bois Vent. I love, you know, jewelry of that time. And I've been thinking, and I've been looking and I've been hunting, and I think that's what will be next.
- [41:15]
B
I love it. How about the unobtainable? So something that's too expensive in a museum, Private collection, Just complete unobtainium. And you would hop on it unamitted if you could.
- [41:25]
A
Yeah, I think the Dior Juno dress that I had the pleasure of seeing at the Met exhibition several years ago.
- [41:31]
B
Yeah, that'd be a pretty special one to own.
- [41:33]
A
Yeah. And that will never happen, just to be clear.
- [41:37]
B
That's the point of the question. The page one rewrite. So if you could collect anything besides fashion, vintage fashion, and money was no object, what would it be?
- [41:46]
A
Either? High jewelry and vintage jewelry and art.
- [41:51]
B
Yeah, vintage jewelry is certainly having a. A global moment, I would say, right now for everybody. It's. It's awesome because vintage watches, of course, have become very popular, and it's gotten a ton of people that like vintage watches into vintage jewelry because they realize Cartier and Van Cleef and all these guys made amazing stuff back in the day and things. Bulgari and all this stuff. So it's. It's been fun to watch.
- [42:13]
A
Yeah.
- [42:14]
B
The goat. Who do you look up to in the collecting world or who do you think is a great collector?
- [42:18]
A
I think there's three. So Daphne Guinness, I mean, her personal collection is extraordinary. I mean, and her relationship and story with the Queen and all of that. I could only imagine what it would be like to be a fly in the wall of her collection. Henry Wilkinson and his Givenchy. Audrey Hepburn, you know, archive of just pure magic. And then Jordan Roth, who I think has a phenomenal eye and appreciation for fashion and couture, and I would love to get a sneak peek into his closet.
- [43:05]
B
The hunt or the ownership? Which one do you enjoy more?
- [43:08]
A
The hunt.
- [43:09]
B
It's certainly the most thrilling part of the.
- [43:11]
A
That's it. It's just like, for me, that is the part of the process that gives a lot of your piece a meaning.
- [43:21]
B
You know, Are you mainly hunting for stuff online? In person, do you have to travel? Are there auctions? Where's kind of your bread and butter?
- [43:29]
A
Yeah, I would say online and in person, but in person, when I travel, so when I go to Paris, when I go to Milan, wherever I may be, I take the time to always hit local vintage shops or to reach out to a lot of the collectors or dealers whom I don't get to see, you know, here in the States. And so I make a point of doing that.
- [43:50]
B
I love it. And most importantly, do you feel that you were born with the collector's gene?
- [43:54]
A
100%. My grandmother was an antiques dealer.
- [43:58]
B
You had no choice.
- [43:59]
A
I inherited it.
- [44:01]
B
Mikaela, thanks so much for coming on the show today. Such a pleasure to learn about all that you do. It's super fascinating. I have so many more questions, so I hope we get to do this again. And all the best to you and finding your vintage Chanel dress.
- [44:14]
A
Thank you so much. I appreciate it. This has been great.
- [44:19]
B
All right, that does it for this episode. Thank you all for listening to Collector's Gene Radio.