← Let's Get Dressed
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- [00:02]
A
Hello, everyone. Welcome back to let's get dressed. I hope you're all having a great start to your week. Thank you so much for tuning in for another episode. Today's episode is a bucket list episode, everyone. So I hope you're all seated and ready because I am so excited to be sharing it with you guys. Today we are joined by stylist Carla Welch. She is one of Hollywood's most beloved celebrity stylists, whose client roster has included the Biebers, Olivia Wilde, Sarah Paulson, Tracee Ellis Ross. I could literally go on and on and on. She has styled so many amazing people. We actually ran into each other at a Chanel event at Chateau Marmont earlier this year and started talking about fashion, her work with the period company awards season. And I was like, you know what? I wish I could hit record on this convo. So we are doing quite literally that today. We are breaking down the anatomy of a press tour and what goes on behind the scenes of everything we're seeing right now in red carpet season, we talk about what award season really looks like, from designing custom dresses to putting together multiple looks to how red carpet moments come together and what happens when they go wrong and why. Intuition has always been her number one over trends and anything that just feels cool in fashion. I loved this chat. I loved getting to know her more, and I'm so excited to share it with you guys. If you loved the episode, make sure you leave us a review on Apple podcasts and Spotify. I always love to hear what you guys think and of course, make sure you're following the show so you don't miss a new episode. Let's go get dressed with Carla Welch. Welcome to the pod.
- [01:33]
B
Thank you for having me.
- [01:34]
A
Have wanted to have you on for a very long time.
- [01:36]
B
Well, thank God we ran into each other the other day.
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A
I love your work, obviously.
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B
Thank you.
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A
You have been a dream guest for me for a really long time and someone whose brain I really have been eager to pick on what it's like to even run an awards season from a fashion perspective.
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B
Okay.
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A
And so I kind of wanted to dive into, like, the anatomy of a press tour and what that looks like for listeners who maybe are unfamiliar. Could you give us kind of like what top line, what that even looks like? Like, what is a press tour from a fashion stylist perspective.
- [02:06]
B
Okay. Well, a press tour, when one of the clients you work with, the talent you work with, or maybe someone you're going to work with has to promote their film or whatever they're doing their album, etc. In this case, you know, in award season, we'll focus on films. And mainly because I work with actresses, the press tour is the circus. They go on to promote their project to the world, and my job as a stylist is to dress them for all these engagements. An awards season press tour is a little bit different because the talent is campaigning for nominations. So, yes, it starts at the Golden Globes. Everyone's like, award season's here, but really it starts back in May at Cannes Film Festival. So the big indicators for an awards season. Yeah, it's like, wow. By the way, I have, like, two people already going to Cannes, and I'm thinking about it.
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A
Which is in five months from now.
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B
No, it's in May. So is May five months from now. Yeah.
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A
I was like, wait. No, I was like, am I counting wrong? This is so embarrassing.
- [03:10]
B
We're off to a math start. No, I did great in math, and that's why I'm a stylist. Yeah. So it starts like this. It goes like, well for a lot of people. It starts in Sundance for the little independents to get picked up, but really, it kind of kicks off with Cannes. Then Cannes turns into Venice, which turns into Telluride, which goes to Toronto, which goes to. Then the Academy Gala, which. Then the Governor's Ball nominations. Here we are in January. So awards season, and it never really used to be like this. It never used to be the mass onslaught that we find ourselves in. But my first really big awards season run. Well, actually my second award season run was like, maybe 10 years ago with Ruth Neget for Loving, and that started at Cannes. So right now I have two girls going for nominations. Tessa Thompson for Hedda, and then Renata Rensvi for Sentimental Value.
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A
Favorite movie of the year, by the way.
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B
Sentimental Value. Yeah. It's beautiful.
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A
Beautiful. I loved it.
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B
Beautiful. Heartbreaking at the end. I mean, it's hard. It's a family.
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A
It's a beau. I think the way it's shot is beautiful. Everything about it, to me, felt Hakeem. Yes. I love him.
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B
So good. But did you love Worst Person in the World?
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A
You know, I never saw it.
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B
You have to.
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A
Which I think I know is a fatal flaw.
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B
It's not a fatal flaw. I'm so excited for you. Yeah. Look at it. And, like, how exciting that you get to watch this film, because that's one of the most amazing characters. And that's when I started with Renata, was for that movie. So I just started with Tessa in the summer, though. We've known each other a long time, and really the goal is to kind of, for me, is to back out of the Oscars. The Oscars is the biggest moment if you're fortunate that they get there and you just kind of plan backwards or when you're in a really good. I like to get into a real flow state with my clients. So it's like you kind of know what you're landing on, what energy you're giving, who you're working with in terms of designers, in terms of jewelers, et cetera. And then you just start telling your little story, hopefully having fun. I think now I've done it. Being a stylist for 20 years. I like to make sure I'm having fun and that we're really on a bullet train. But also we're in a rowboat, you know, where it's like. It's like. Yeah, it's like that.
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A
What does that look like to start off? So, Tessa, for example, you know, you're working with each other from Toronto. Are you mood boarding? Are you deciding on an aesthetic, a vibe, what you want to accomplish? Like, what is the goal? If we're speaking pragmatically?
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B
If you're speaking pragmatically? Well, the goal is to help them get a nomination by turning them out and by allowing them to feel amazing in what they're wearing, because, like, they're on everything. You know, it could be three events a day where they're talking to voters, they're promoting. You know, that is a dredge. So I want them to feel amazing. Someone like Tessa, who already has incredibly innate style, it's like, helping that along, but it's also landing on, like, a vision. I don't really mood board. It's just not. When someone asks me for a mood board, I'm going to disappoint them because the mood boards in my brain. Right.
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A
You know, boards are so hard to. For me as well, because I love one.
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B
I love seeing one.
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A
Me, too.
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B
But it's pretty.
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A
I'm like, is this too literal?
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B
Yeah.
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A
You know what I mean?
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B
I hate.
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A
I can't explain to someone why this image moves me, but it does. And it could be random.
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B
Yeah. Well, that's great. It should be random. I feel like we've gotten to a point of in culture, you know, maybe not really in culture, but in our visual landscape right now where it's so homogenized. And I don't want to give you an image that you've seen before, because everything's in my brain. Which is maybe not the best place for it to be, but I have a depth of, like, 40 years of watching movies and listening to music or going to that show, or I felt something and could find a way to visually articulate it. So I'd rather just concentrate on, like, a few words and where we're going and then finding it. You know, practically speaking, you also have to have the clothes. Right? And what's been a real challenge that never used to be, you know, 10 years ago, even five years ago, is that we're in a real different landscape in fashion, where a lot of girls are tied up in contracts, a lot of brands are coming in, and they're wanting every single piece of. Of the pie. So it gives less freedom to real storytelling. That's why I love, like. Another reason I love musicians, too, is, like, they kind of aren't really obsessed with that idea, and they. They tell bigger stories. But I love it if a girl's not too tied up in a contract because it gives you a lot more freedom. But the flip side of it, too, is because of all the changes in fashion over the last few years of shifting of creative directors, you'll find a collection, for example, like Sarah Burton's last collection for McQueen. Nobody got to wear it, which I just think is so such a crime. It's a crime of an. I'm gonna say something people might find controversial, and I don't know the decision making behind these decisions, so I'll preface that. But, like, it's a bit of a crime of an ego to think that a brand can't show the work of the designer who was just there. That's your legacy. And it's such a waste of dresses. So we've entered. We were in a real desert, a closed desert for a while of, like, no gowns, no nothing. And every stylist was dying because at the same time, because of all the new media, which is amazing, and, like, traditional media is like, okay, it's a TV show. That's not what matters anymore. It's like everything else, the pods, the Instagram things, et cetera. It's like there's not enough clothes and people aren't making gowns. And so you're all like, ah. So it's a different landscape for sure.
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A
What does it feel like now with so much new designers, new collections? Does it feel exciting, overwhelming? There's a lot out there now.
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B
Yeah, but we've run out of clothes already. My assistant Grace and I were just saying that it was like, oh, my God, we're at the time where it's like, we've seen everything. Everything we want is being placed, you know, often by ourselves. Okay, great. There's fashion shows coming up, but it lends for a bigger conversation, too, outside of this one, where it's like, we see so much right away. Where back in the day, you didn't. Right. You'd see. I mean, you used to have to fax. Do you know what a fax machine is?
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A
Of course.
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B
Okay.
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A
I'm just making sure. No, I know.
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B
I wouldn't hold it against you, but, like, you used to have to fax in your request, and then it would come back, and, like, it moves slower. Now we see everything, and so people are technically tired of it when it actually comes into season.
- [10:05]
A
I'm curious if, while you're working with a client on a press tour for awards season, if you're like, I want her to exude this aesthetic. Sometimes I feel icked by that word. And I'm curious if, as a stylist, you feel drawn towards it because it helps, like, with the framework or if you're like. If it feels limiting.
- [10:24]
B
I look for more, like, flow, which is like. But I do find it the aesthetic by. But I have this method I work on where it's like, okay, if I'm gonna. I'm gonna start working with this new girl, and it'll be south by Southwest. And right now, I'm thinking about her in a way that it's very internal for me, and I'm trying to find out where we're going, but I'm not looking at, like, a mood board or Instagram and thinking, I want to be like that. I think that's amazing for people's personal style. Like, if you aren't finding your own, if you're having a hard time locking in on how you're dressed, this is a great place to be, find inspiration, but for me, it's got to be a little bit more. And it doesn't always work for everybody, but that's what I try to do.
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A
I really like that a lot of what you're saying right now is based on your own intuition.
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B
Yeah. That's why I'm a really specific type of stylist. And I'm sure it's not. Of course, it's not exclusive to me, but I'm really the captain in your mind.
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A
Like, your mind and your mind drives the ship.
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B
Yeah.
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A
I love also what you said earlier about the fact that it's inspired by things that you're seeing in the World that aren't just about fashion.
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B
Right.
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A
And I think that that is something that. That even in my journey, I always try to nail down. It's like the world outside of fashion is what's going to inform your thoughts about the world inside of fashion.
- [11:54]
B
Yeah. I had to like kind of give it to my team. And my team is. So I'm one of the things I'm most proud of. And it goes back to 20 years ago. I've always had an amazing team. I've been so lucky. But I think that's also my skillset of picking great people, being demanding in the way that I demand excellence. Cause excellence is always being demanded of me. But I did say to them the other day, I don't want anything to look like. It's on fucking Instagram. And they're out polling. I still make all my selects, but then I always say, okay, and then go find me these things. But I'm like, I just don't want it to look like that anymore. I don't wanna see this on my racks. I don't want that top laser combo slack. You know what I'm saying? Everybody knows that aesthetic and it's beautiful. But I don't. That cannot be what everybody looks like. I want the person to look like themselves, but better. And I want it to be like, that's Renata's style. This feels like Tessa looks like she could have styled herself. That is my goal, is to look like I'm not there.
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A
And in my brain I can see that so clear.
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B
Yeah.
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A
Especially with Renata.
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B
Yeah.
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A
I'm curious how you have been able to cultivate that, like, trust in your intuition. That is very hard. I think for women specifically is like, how do you trust that feeling of like, that works. And you do it so well. Even like I can see in the way you move and even what you wear, like you know exactly what's right for you and what is right for other people. And it's a skill.
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B
Thank you. I have no other skills.
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A
So that's not true.
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B
Well, no, no, no. But I. I had deep intuition as a child and I think like if you. And I think everybody has intuition. If you. I mean, some people don't. Like, sometimes I think to say to my son, I have a 19 year old son who's amazing, amazing artist. And I'm like, are you listening to any of these other voices? Like, come on. But I think if you have. Yeah. I just have always had really strong opinions.
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A
I met like an expert in a intuition expert there. We Go. Last weekend, I spoke on a panel with her, and I actually was really curious at the correlation between personal style and intuition. And I think that there's just, like, a huge unlock there of the two things together, like knowing what feels best for you. And I asked her, I was like, what is a immediate gut check that you say to someone who doesn't know their intuition? And she was like, go to someone and say, is your name Carla?
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B
Yes.
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A
Is your name Olivia?
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B
Yeah.
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A
You're supposed to feel it in, like, two different places in your body. Like you feel. When I say to you, is your name Olivia? And you say no. I think she said the no.
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B
No. I said yes over here. I was like, yeah, yeah. I was like, I was speaking for you.
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A
She said that the no is in your stomach and the yes is in your heart, and you should feel that. You should be able to kind of feel that instinct in your body, and that that's a good practice to just feel where instinct comes from, because it comes from a physical place in your body. I have to try it out more, but I was very curious, and I think I'm gonna do an episode eventually on intuition practice.
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B
I love that.
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A
I think for someone like you, someone who, like, the tactile things aren't important, like the mood board, the things. It's all coming from inside you.
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B
Many, many, many years ago, there was an issue of Vogue. I mean, well over a decade, maybe 15 or so. And it was asking. It was this photographic series of the designers and their muses. And got to my favorite Mrs. Prada. And her photograph was herself looking in the mirror. And I was like, I ripped it out. I still have it to this day. I love mirror. And the muse is in the mirror, is what she said. And I was like, yeah, same. And you don't have to think like, oh, I can't compare myself to Mrs. Prada. I'm certainly not comparing myself to Mrs. Prada. Like, there's no. It's not that. But that tapped into something. Like, it's inside of you. And what's interesting is, you know, I was with Virgil, rest in peace, who was incredible to so many people. And we were at this. You know, we were like, I was the first person to place his womenswear when he created it for Office White. Michelle wore it to the CFDA's, and I have this text from him. And then we saw each other at a business or fashion dinner, and we got seated together, which was, like, one of the best dinners of my life. And we were chatting and I mean, we were more than chatting. We didn't talk to anybody else. We were laughing. We laughed, like, hard about it. But I said that to him, and he was like, unlocked. And I was like, unlocked. You know all your references or learn your references. It's not about knowing everything, And I think that's one of the greatest things I've learned my whole life. It's like, you don't have to know everything, but be open to exploring everything and learning. And I think that's like. And then. And then spit it out. You don't have to come up with original ideas, but you can have original feelings or the feelings that are right for that person. That's what I'm after.
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A
I want to ground that kind of in a real life example.
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B
Okay.
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A
I love Renata. Obviously. I loved the movie. I love her personal style as well. And my favorite look from the Golden Globes was the custom Louis Vuitton that you styled her in. She walked out, and I was like, oh, I can turn the TV off now.
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B
Correct.
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A
We're done.
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B
Yeah, we're good.
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A
I know. It was spectacular, and she looked incredible. What does that process look like from the beginning when, you know, you're working with someone like her and you want Louis Vuitton to make a custom piece for her?
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B
Well, the amazing thing about Renata is she just lets me do it. But we know each other so deeply in a way that's like. I remember when I first started working with her, it was like nobody knew who she was. And I was like, no, no, no. I just know who this girl is. And came in, it was like, we did 20 looks. Boom, boom, boom, boom, boom. Under an hour. And she was just like, she's someone who feels her clothes. And so for the award season run with her just. She is a Louis Vuitton contracted ambassador. You know, we had a call in post Cannes. We did the Cannes. Cannes looks great. And then I think in July, we started talking, and then we'd landed on sketches. But, like, I'm obsessed with fringe. Like, I'll put fringe. I mean, there's a little bit of wool fringe. I'll put fringe on anything. It's like putting a bow on something. For me, it's like, fringe. Yes. And so I'd ask them about, you know, and it was like, of course, like, Diana Ross, little Cher, a little that. But I just visually love how it moves. And the globes is such a great place to have a fun dress. You can't have a really big dress because they're Sitting on really tight tables, and everybody moves around. So you. I have to think about that. You don't want to be super cumbersome, but that dress really was exactly what I wanted. And we kind of started fitting it, but not really. At the London Film Festival. They just had a little, like, muslin, but I was just like, you can't give me enough fringe. And this is the gray I want. And they just nailed it. It was actually two pieces because it was so heavy, you couldn't. It would never hold up just as a dress. So structurally, it was so interesting to be a skirt. But she, like, put it on. She's amazing to watch. Like, I get so inspired by, obviously, the women I work with. Right. Because, like, there are these amazing vessels for stories. So I'm really in awe. Like, I really have to love somebody. Like, I keep a good boundary between, like, you know, I'm still working with someone, but I have to, like, deeply love them, which is kind of sweet. But she put it on, and it was just like, perfect. It worked. It worked. And, you know, it works. You would. Like, the globes was like, a real, like, no notes.
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A
There were no notes. It was impeccable.
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B
Yeah.
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A
And she had Louis Vuitton jewelry on it all. It really just worked.
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B
And just one. I had thought about a bigger piece of jewelry, and we put it on, and we were both like, nope, doesn't need it.
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A
The dress speaks for itself.
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B
Also. She's so tall.
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A
She looked even taller.
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B
She looked even taller.
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A
She looked like a statue.
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B
Yeah.
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A
It was unbelievable.
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B
Do you know what I hate, though? Now, I don't hate this. I find this a little bit sad, but, like, back in the day. And I sound so. Back in my day. No, back in the day, we're moving so fast all the time, visually. And with this content machine we find ourselves in because of streaming and because of projects and just. I mean, because of capitalism, there's the stream of output that you don't linger anymore. I think Sam McMillan and I were. Or someone and I were talking about this. Just like, you could have a dress on a carpet and you could talk about it for months. Like, oh, that was such a look. But, like, now we're at a point where, like, on Monday, there were 30 more looks, right? Yeah. So I'm like, ah, you want it? You want. There's the reason for nostalgia is because people, like, that slowed down time, right. Where they're, like, the greatest dresses, then don't come from right now, but they should, because that was one of the greatest Dresses. One of the greatest dresses I'll ever place.
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A
Another one of my favorites that you did was America Ferreira's custom Versace for the Oscars, pink for the Barbie press tour. And I actually remember hearing you say in that that you knew exactly what you wanted for that. I went to Versace with, I want this pink chainmail. I know exactly the vision for that.
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B
Yeah.
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A
Is that different than Renata's look? Are they sending you drawings, or are you always for custom, coming to the table with a concept? What does that really look like?
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B
You come with a concept? Well, first you ask, and you are, like, kind of praying that they're into it. Right. You know, one of the most important things as a stylist, especially for young stylists, when you. When you're out there is like, don't bite that hand that feeds you. Right. Like, the greatest thing is having one of these designers say yes to you, that they're going to make you a dress. For me, it is, like. And I never want it to not be perfect for them. Like, that's their art. So I'm constantly thinking, like, is this the right glam for the look? Is this the vision? You know, that it works for everybody? But, yeah, with. Of course, with America's dress, you know, we didn't do on theme Barbie. We kind of avoided pink the whole time. But I was like, I know when we're gonna do pink. Cause you knew the movie was going to the Oscars. Was the greatest surprise that she got nominated. Amazed, deserved that monologue. Best monologue ever, you know. Thank you, Greta Gerweich, for writing that monologue in America, for delivering it. But I think in November, I went to them and they said, sure. And I was like, all I want is a classic Versace chainmail dress. That's it. Because they. They invented that fabric, right? Well, not invent. They didn't invent chainmail, but they invented a really specific type of how they do it. And years before, Lorde wore a piece to, like, a pre Grammy event when the Grammys were in New York, I couldn't even tell you what year that was, but. And so that's when I saw how they made it up close. And I wanted. I just knew it was going to be perfect. And, you know, they sent me, like, 20 pinks to pick from, which that was the hardest part. Right. They sent about five sketches to choose from, and then they sent all the pinks. So that was. Oh, my God, that dress was spectacular. Incredible.
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A
Yeah, it was one of my favorites of yours. I'll never forget it.
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B
I will never forget it either. It was just like, also, I love her deeply. Again, like, it's that love and you just.
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A
We.
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B
It was such a great press story. Cause at the end of the day, and I'm meeting this with, like, the most love. Like, fashion only likes a certain type of girl. Right. And America maybe wasn't. Isn't fashion. Everybody. Everybody loves America. She's brilliant. She's a badass. Everybody's on her side. The fashion industry isn't chomping at the bit to dress. Wasn't chomping at the bit to dress her all the time. But, like, we turned out consistent looks one after the other. Like, she that pressed to her, I would say to my team, like, you have to be really proud of yourselves. Like, this press tour is absolutely perfection. And it doesn't always get to be like that for every girl. That's the harsh, harsh truth of the industry. And of course, I respect designers who say no. That's the thing about what I was saying before of, like, you gotta be nice about it. Right. The biggest mistake I think a stylist can make would be like, well, fuck you if you don't want to lend to this person. Yeah, I'll keep asking, because one day they're gonna say yes, and then I'm gonna show them how good it is. You know, I get less no's now, of course, but. And it's not that there was a lot. There wasn't great options for America. There was. We had banging dresses. We made her body look amazing. She felt incredible. But, like, that was a real. For me, one of the best press tours I've ever done. I just loved it. And it was like, again, the perfect ending was like, I know how we're going to end.
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A
I mean, that's, to me, the perfect case study of how transformative fashion can be. It was such a moment.
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B
Yep.
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A
Really was.
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B
Yeah. And Donatella came and she was like.
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A
I remember those images. They're kind of seared into my mind.
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B
Yeah.
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A
It was a moment.
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B
It's a moment.
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A
It's a moment.
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B
Yep.
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A
I want to double click a little bit on this relationship with designers, because, one, you have relationships with all the top designers, but what does that look like on the back end? How have you gotten to that point? And what does cultivating a good relationship look like? Especially now, I'm sure for a stylist, it's very interesting when the musical chairs happens.
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B
Yeah.
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A
You have Pier Paolo at Balenciaga with Tessa now. He was Formerly at Valentino. What is that whole.
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B
Rest in peace. Mr. Valentino bestowed. He did.
- [25:41]
A
He passed away this morning.
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B
Life well lived beyond. Wow.
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A
What a man.
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B
What. Thanks for the beauty.
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A
Truly, truly.
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B
And, like, smart. Went out on top and then just enjoyed it.
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A
He did. Yeah. I love that for him.
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B
You don't have to work forever, everybody.
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A
Amazing. Amazing legacy in life. Yeah.
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B
You always knew if you got a Valentino dress, just how spectacular it would be.
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A
You know, I've interviewed a lot of stylists, and everyone has said that.
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B
Yep.
- [26:08]
A
Everyone has said it's the Valentino.
- [26:10]
B
Yeah.
- [26:11]
A
It's just. Just a pinnacle.
- [26:13]
B
Yep. But.
- [26:15]
A
So what does that look like?
- [26:16]
B
It's a thrill. You know, it's like knowing a rock star. But I think, like, the fashion community is so pretty wonderful. I think at the beginning, you're, like, a little scared, and it seems really intimidating, but, you know, everybody puts their pants on the same way. But for me, I, like, they're my rock stars. I won't say I'm never not in awe. Like, I was DMing or Whatsapping with Pierpaolo, and, like, it's amazing to become friends. It's amazing to get to a place where you knew them when they started. Right. And so. But also, like, I have to just give mass. Like, be super respectful. It's their process. Be supportive. Like, I don't know. It's pretty wonderful.
- [27:01]
A
I remember earlier when you were saying you have to go to Versace and kind of hope that they say yes. I'm assuming you're sending kind of multiple bids. If someone's not on a contract to get them to dress them for an event. What does that look like when you're trying to keep the relationship good? Like, how do you keep that?
- [27:19]
B
Oh, if you have to say no.
- [27:21]
A
Yeah.
- [27:21]
B
It's the worst. It's the worst. I'm sure.
- [27:23]
A
Like, how do you keep those relationships in good standing?
- [27:26]
B
Yeah. By being transparent.
- [27:27]
A
When life happens, you have to be super honest.
- [27:29]
B
Yeah. And listen, you're not going. You're not really bugging. I mean, I did. I asked Pierpaolo to make Tessa the dress, and that dress was all him, and that color was him. And, you know, it came at the last minute, and then it knocked every other dress we were looking at off the table.
- [27:47]
A
It was beautiful. The color was exciting.
- [27:49]
B
Yeah, the color was spectacular. But, you know, you're working with, like, the most amazing love. On the flip side of all those stylists, then it's all the PR teams, and, you know, those are your community that you've worked with for 15, 20 years. And so you have. Those are the relationships, too. Like, yeah, I can have a relationship with all the designers. You better have a good relationship with your PR people, because they're the gatekeepers. It's funny because I did a stint where I kind of worked on the PR side helping them with the show dressing last year, and I saw their side, and I was like, I'm never gonna request anything during Fashion Week from you ever again. I've learned my lesson. I see what you're going through. So it's like, perspective is everything. But the key is if, like, custom's tricky, and the globes are particularly tricky because the nominations come late in December, and then all of a sudden, everybody's gone for the holidays. Like, by the time.
- [28:43]
A
Yeah, you don't have much time.
- [28:45]
B
No, there's no time. There's like. And you kind of don't want to. You're hedging that you're gonna get a nomination. So you've started like Renata, you know, you're going all the way through Hope. Knock on wood. Well, you know, you never know. You have to. But, like, other nominations come in or presenting comes in, and a lot of times, I don't love doing custom dresses because I. I want to have the options.
- [29:06]
A
Yeah, it's risky.
- [29:07]
B
It's super risky, and it's super scary. But what I just have learned is you just have to be, like, super transparent. This brand. Hey, she might have a deal. I'm speaking broadly now. This client might have a deal with this other brand there. This one brand's asking to dress. I'm like, you just have to know there might be a. An offer here. If you wanna participate, go for it. But I just wanna be transparent about it. And that's where we ended up, you know, last week as well, where I was like, I'm not sure that this is gonna work because I'm a real. Like, the best dress wins, but it's the season of disappointment. Like, I had an ulcer last week because. No, you actually. No, I didn't have. I just had a metaphor.
- [29:51]
A
I mean, I went metaphorical ulcer.
- [29:53]
B
I won't be surprised. It was just, like. It's so stressful because then you're, like, moving things around, and people are like, we wanted it for this and not this. And, like, you're like, ah. But at the end of the day, like, good stylists know how to pace things, and it's a. There is a pace game that happens as well. Like, Renata wearing that Givenchy to Palm Springs was, like, important for Renata. She got a lot of attention. And, like, attention is something you want at this time of year. I don't know. So it's fun, but I hate disappointing people. It's the worst part about the job, because you love brands, these brands, and the people at the brands so deeply, and you don't want to disappoint anybody, but you ain't doing costume changes.
- [30:40]
A
Have you been having a lot of fun with a lot of the new collections? Because, personally, I've been having a lot of fun watching it. New Chanel on Tessa Thompson was. That was my favorite look from the show, too.
- [30:52]
B
Oh, amazing.
- [30:52]
A
It just, I thought, was the most wearable, emotional, but new era.
- [30:55]
B
Yeah, yeah, yeah. I loved it.
- [30:56]
A
Yeah. And she looked so good. Yes. How are you feeling about it?
- [30:59]
B
I love.
- [30:59]
A
It's so good.
- [31:00]
B
I love. That New York show was so good. You're just like, okay, yes, please.
- [31:06]
A
Yeah. For you, I'm sure that's like opening up a treasure chest. You're like, okay, yeah.
- [31:09]
B
But you. You love it when you have a girl who gets it. Right, you know? And when I say gets it means the brand has validated and says, yes, let's.
- [31:17]
A
Let's get into that a little bit, because I distinctly remember where I was sitting and what I was doing when Sarah Paulson came out in New Bottega two weeks after the show.
- [31:25]
B
Correct.
- [31:25]
A
She was one of the first people I saw wearing the collection.
- [31:27]
B
She was the first person wearing it.
- [31:28]
A
That's what I thought.
- [31:29]
B
Well, Vicki Cripps, of course, in advance. But like, that collection, the collection, she was the first person to wear it.
- [31:36]
A
What does that negotiation look like on the back end?
- [31:38]
B
I'm a psycho. Yeah. Like, you know what? I'm not a psycho. I am relentless. I'm. Which I kind of pride myself in being relentless still. Because it's not like. I mean, I'm like, I am 20 years in, but I still work really hard for my clients. And it's not a given, because now you know this how fashion works. It's like, the show shows, the press re See, Then it's immediately going into sales because sales are. God. Like, I want every designer. I'm never mad if a designer says, I can't have it because it's in sales, because I want them to be successful. And the only thing that is successful is selling your clothes. But that look in particular. And I am a longtime, huge fan of Louise Trotter, from Joseph to Lacoste. To, like, Carvin. I have so many Carbon pieces. No one sleep on Carvin because the legacy's continuing with the designer who's there now. And, you know, of course, I was a huge Matthew fan at Bottega. I love, like, they're clothes you wanna wear. Like, they're clothes I wanna wear every day. And then Louise's collection came, and I was like, oh, my God. And so it looks a lot like, just asking for it in a way. Like, I'm sure, like, so many of the press, people just laugh when my emails come in because they know that I'm not gonna stop. And I'm like, I want that dress. And I know how much, like, Louise liked Sarah, you know, and we worked. We did so many placements with her at Carbon. So you kind of had that, like, relationship already. But, yeah, I was like, give me that look. And Sarah was, like, interesting about it. I was like, that's like, Sarah and I have, like, you know, it's, like, secondhand. And she's like, is it enough? Is it enough? I was like, yeah, girl. Oh, yeah, yeah. Like, and I have to, like, sometimes chill out. Cause I'm like, you're wearing it. This is the look. Like, I know. Like, I know in every fiber of my being that this is the look to wear.
- [33:45]
A
And you know that that's going specifically for Sarah.
- [33:48]
B
Like, yeah, yeah, yeah. That's the only person who I'm calling it. You're calling. Yeah. Yeah.
- [33:51]
A
But also, in the back of your mind, you're like, these relationships could give us a layup for this. Yeah, it's all math back there.
- [33:58]
B
It's all for someone who wasn't good at math. Yeah.
- [34:02]
A
Well, no. I'll never forget hearing you say on a podcast that sty list are power brokers.
- [34:07]
B
Yeah, for sure.
- [34:08]
A
That stuck with me. I remember listening to that podcast episode and saying, that is something that needs to be shared more. You guys do so much behind the scenes, too.
- [34:15]
B
So much.
- [34:16]
A
Bring talent to brands, broker deals, elevate their brands to a whole new level. I mean, even you saying that moment where Renata wears Givenchy, like, that really changed a perception for her. People saw that. That was a moment.
- [34:28]
B
Yeah.
- [34:28]
A
Those things can change careers.
- [34:31]
B
Correct. And listen, like, when you're working with someone like that who's gonna be a working actor for her whole life, as long as she chooses to be. I'm not changing her roles. Of course not. I don't want to take that much. You don't want to take that much credit, but you can shift Something in how the fashion world sees somebody, and that's dollars.
- [34:51]
A
What does it look like when you're one styling multiple clients on an awards day? What does that look like?
- [34:59]
B
Well, for me, the work's done.
- [35:01]
A
You're just showing up and making sure it's perfect.
- [35:03]
B
Yeah. Because what I love to do with my girls is have all the decisions done. You know what I mean? So it's like you want to relieve the stress as much as possible for them on that day. So you're aligned with hair and makeup, you're aligned with each other, and then you align with everybody else. And we're just so prepared, you know, like, are. What would happen if a zipper broke? Well, the tailor's there to sew them in. What if the shoe breaks? There's a backup shoe. You know what I mean? Like, so everything. So war days are kind of, like, nicely chilled for us. But, you know, I have an incredible team. Everybody gets a person. I have a rule. It's, like, of how who I go to. It's like, the nominee is who I go to. I had two nominees. I had three nominees this time. So it was, like, a little trickier. But, you know, this is gonna sound harsh, but it's like, I get paid by a specific brand a lot more than the other one. So that's, like, kind of how you have to do it.
- [36:07]
A
I don't think that's harsh. I think that's business.
- [36:08]
B
Yeah, it's business.
- [36:09]
A
That's show business.
- [36:10]
B
I know that's show business.
- [36:11]
A
Life of a showgirl.
- [36:11]
B
Yeah, life of the showgirl. But I feel. I hope and I know that my gals feel really well taken care of. Cause I'm also with them. Like, I was with Tessa at, like, midnight the night before, landing on all the last bit of tailoring. So it's like, I've done the work, and sometimes I think, like, a lot of, like, glam people don't realize that for the stylist where, like. Cause they roll in the day of. It's like, no babes. We've been working on this forever. For months. And this last week, we've been working.
- [36:38]
A
On it 247 hair and makeup. You're deeply involved in all of those decisions.
- [36:43]
B
Yeah.
- [36:44]
A
Yeah. Because I'm sure. I'm sure you've had a moment where you've styled an incredible look, and then the glam team just goes opposite direction.
- [36:51]
B
Yep. Yep.
- [36:52]
A
Which is devastating.
- [36:53]
B
Devastating. Devastating. You're like.
- [36:57]
A
It was so close. We were right there.
- [36:59]
B
Yeah. You're like, huh? Yeah. What Happened.
- [37:02]
A
So those decisions are being made ahead of time.
- [37:04]
B
Yeah.
- [37:04]
A
Everyone's aligned.
- [37:05]
B
Yeah. And because it makes it better for everybody. And listen, the glam squads I work with are all incredible, and there's so many of them that you can just be. Yes. What do you think? Because obviously there are artists as well. But, like, the best days are the ones where you've landed and then you execute. It's all about the plan, which is very practical, but it, like, keeps the train running on time too. Like, I don't want that chaos. I have been in those chaotic situations earlier in my career, and it's just, like, not for me. No, thanks. I want it to be chill. I want all of us to have a glass of wine and have a great time. Send you with love out the door. Not being stressed out. So it's that energy you have to bring.
- [37:51]
A
Have you had something go wrong on a red carpet?
- [37:53]
B
Yep.
- [37:54]
A
What'd you do? What happened?
- [37:56]
B
I internalized it and carried it for, like, six years of my life.
- [37:59]
A
Yeah.
- [38:00]
B
Yeah.
- [38:01]
A
Virgo, Aquarius. But I do the same thing.
- [38:03]
B
Yeah. Where you just, like, wake up in the middle of the night and just be like, what?
- [38:07]
A
What was that me last night at 1:00am oh, no. 45 minutes thinking about things from five years ago.
- [38:13]
B
Yeah.
- [38:13]
A
Are you allowed to share what went wrong?
- [38:15]
B
No, I don't want. No, it was like, just address that. I just hate it. And then everything about it I just hate. Just. It just went wrong. Yep. And it was like, ouch.
- [38:26]
A
But I'm assuming you took a lot of learnings from that, which is like, we all have to have the bads to really know when something's good.
- [38:32]
B
Yeah. Yeah. Also, it was, like, a different time. It was the time of, like, worst dressed, best dressed, which I just, like, we, like, you know, the early 2000s were pretty savage. Totally for that. That culture of, like, we're gonna eat you alive.
- [38:49]
A
It's very interesting. I find red carpet criticism very fascinating. And I find it. I know it's a business. I'm all here for it.
- [38:57]
B
Yeah.
- [38:57]
A
People want to be entertained.
- [38:59]
B
Yeah.
- [38:59]
A
But I think once people listen to episodes like this, they're like, oh, there are so many things happening in the background that it's almost an unfair judgment at the end of the day.
- [39:11]
B
Come to me and my clients and say it to our face.
- [39:14]
A
Right.
- [39:15]
B
If you can do that, I'm gonna respect you so much more.
- [39:18]
A
Right.
- [39:19]
B
Like someone the other day wrote on, it looks like she's going to a picnic. Wow. Okay. I'm glad. And this Was person who was like, had a business. And I was like, you're putting that out? Yeah. And in a comment section and it was like, I mean, I didn't reply. Sometimes Jessica Pastor will reply to people and I. Where I'm all like, pastor, I love you so much because it's so funny, but I'm like, it's kind of wild. Like, I'm like, what are you, Are you gonna say that to someone's face? Like, there's always gonna be the keyboard people, right? And some things, I'm never afraid of criticism, but I hate, like, idiots. You know, I'm like, but when you're dumb, I just can't. Like, I don't put too much stock into it anymore. You can love me, you can hate me. As long as I made you feel something. Love it. Or I'd rather you love it or I'd rather you hate it. Because if I'm in the middle, I'll just be like, blah, blah, blah.
- [40:15]
A
I can take criticism, but I hate idiots is really a line. Like, I love that. Okay, I'm gonna take that for myself, please.
- [40:24]
B
I guess it's true.
- [40:25]
A
Like, I'll take criticism, but don't be dumb about it.
- [40:27]
B
Yeah, yeah. Also, like, Also just like, you just don't. And I don't expect everybody to know how the business works, but it just doesn't work like that.
- [40:36]
A
Is there anything you're itching to come back in? Fashion?
- [40:39]
B
Individuality? I didn't even say the word fully there, but individuality. I just wanna see a little stuff a little more fucked up. I don't wanna see perfect all the time. I wanna see. I don't wanna see your Instagram feed all the time or that Instagram feed of like that real taupey beige we're both wearing. I don't know. I like seeing like, I think there's a. Yeah, I just like seeing a little more energy and I don't think everything has to be this huge moment. I want to see how a girl puts a belt and tucks a beat up sweatshirt and ties a scarf around her neck and maybe adds like a chandelier earring to it. I want to see that. I want to see that feeling of when Robert Redford went on a press tour and he was wearing his own clothes and they had that nice amount of wear to them and that tactileness and I want to see people who are in their clothes.
- [41:35]
A
Odessa from Marty supreme has been doing that on the red carpet wearing all her own clothes and I loved it. Yeah, she wore to the premiere. She was like. People were like, what are you wearing?
- [41:46]
B
Yeah, it was from, like, Santee Alley.
- [41:48]
A
Santia.
- [41:48]
B
Yeah.
- [41:48]
A
She was like. And then I had a tailor put a corset, and I cut the arms, and I was like, that is super great. Amazing. Yeah, that is fun. Like, if you love your style, wear what you got. Yeah.
- [41:59]
B
Nothing wrong with it.
- [42:00]
A
What are your thoughts on AI and fashion right now, especially? I feel like for a stylist, there are a lot of styling apps coming out and things. I'm curious, and I do.
- [42:10]
B
I have a styling app, too. And we, of course, use a little bit of AI to, like, narrow down selections. I don't know. I think it's such a slippery slope. I mean, listen, it took me, like, I'm a late adapter to, like, most things tech over here, so I don't know, is it worth the energy that it's costing the planet? I think. Listen, if it helps you, I know the power of how it can feel really amazing to feel how it feels when you feel good about how you're dressed. So if that can help somebody, okay. But, yeah, I don't know.
- [42:49]
A
Sometimes I think about it, like, in what way?
- [42:52]
B
Like, expand.
- [42:53]
A
So there was an app that I saw recently that is, like, entirely AI styling. You digitize your closet, and every day it gives you new options for four outfits to wear in your closet. There's part of that that I think is really valuable.
- [43:06]
B
Yeah, sure. Yeah.
- [43:07]
A
Like, especially for the masses who don't have access and are looking for inspiration to shop their own closet, to maybe mix things up a little bit. I think there's a lot of value there, but I don't. I have no desire to see it get any bigger than that. Yeah, leave it there.
- [43:23]
B
Yeah. I was listening to. I mean, I think it was Ben Affleck said something about the learning, or there was this article about just, like, it's not learning at the pace. Like, I don't know. I don't know. I don't think styling and fashion needs to be exclusive, but I don't think it's gonna give you anything that you can't do yourself. Unless if you're, like, crazy busy and you need help packing or that sort of thing. But it's like we're losing each other too much. And I think when. Even when you give away the small little tasks, we're still losing each other in a way that I just think we shouldn't.
- [44:01]
A
I think time is the biggest problem. People aren't willing to give the Time to spend an hour or two in their closet and do it themselves.
- [44:07]
B
You've got the time, though.
- [44:08]
A
You've got the time.
- [44:09]
B
Like, I'm really busy. Yeah. But, like, last night I went in because my closet is a utter disaster. And I was like, okay, I'm just gonna, like, tackle these few drawers. Feels good. It feels really good. It feels good.
- [44:23]
A
My favorite activity.
- [44:25]
B
Yeah. It's like, this is nice. So I don't have the answer to that question. I'm going to try to avoid it as long as humanly possible. That said, I do Wishy is an app that. But you work with stylists, people, and they have a little, like, AI aid to help you find the sizing and that. So, like, I get it. I totally get it. But don't have to like it.
- [44:52]
A
My favorite of all your ventures, while we're talking about ventures, is the Period company.
- [44:55]
B
Oh, thank you. Which I love.
- [44:56]
A
I feel. I love that you started something that helps the world but also seamlessly fits into your career. But I want to hear a little bit about the business and how you started it and where the inspiration came from, because it's incredibly unique and you've done so much good.
- [45:11]
B
It's incredible. Yeah. Thank you. Yeah, it's really funny. I mean, I think I'm a person who, when I was little, I just kind of wanted to be just one of those helpers in the world. And then I ended up in fashion, and I am helping, but I. I just thought maybe that I needed something else less superficial, even though I know fashion isn't superficial. So when I. When I say that, I always want to catch myself because I'm like. But it just. Yeah, it did fit quite seamlessly. And so it's called the Period Period by the Period Company. Were exactly that. We're for your period. It's period underwear. And period underwear had been on the market. But I just had. You know, my child got their period quite early, and it was really impossible for him. And I'll say him, because I have a son who gets a period and to blow everybody's minds out there. But we. I just needed something that was easy for my kid. And at the same time, with my own period, I was like, ah, all this plastic is such a drag. And then I was like, oh, these period underwear that I bought are okay. They're super expensive. They weren't really. They were like a backup plan for a leaky tampon. Everybody knows your tampon is going to leak on you.
- [46:25]
A
Like, it's a human experience.
- [46:27]
B
It is a continual experience of being human. And so I was like, I know what I'm going to do. I'm going to make these underwear and I'm going to make them really affordable so that anybody can have this option. Because I thought this is the greatest option in the market. And then my co founder, Sasha Markov is this incredible creative director, ad genius. She some of the biggest campaigns in the world. But she was leaving it because she only wanted to work on things that were good for the planet. She's like, I'm gonna go represent the wild horses of Colorado. And so she's like, no, this is a really interesting idea. We have to. While you're building a product, let's build the brand. And she was like, actually, let's rewrite Genesis. Because, you know, pre the Bible, the periods were pretty revered in the world, like in mystical times and pre man times, pre man being the authority, you know, it was pretty tapped in power of creation. Right. That's been used against us. So, yeah, besides being really affordable, we thought, why don't we just completely take on how we felt about our periods for the last few hundred years by introducing a new idea that it's actually incredible, which is a lot to ask. I know this because I have had a period for 40 years. It's a lot. But then something really clicked where I was like, huh, what if I had 40 years ago acknowledged that a it's coming every month, so there's no escaping it, Right? But what if I had tapped into something that like, this is incredible. This is the center of like everything in the world, or in my world, in my body. And there's this health thing that is happening. And by the way, when, of course, periods are essential to creation, I don't think anybody with a period has to create life. Not a chance. But like, it's a pretty powerful, powerful thing. There's a reason it's been stigmatized by men. It's like because they didn't get one. So what if we could just like really start shifting how we talk about it? What would happen and like TMI for people who don't get a period. But like the first time I rinsed out my period underwear and I saw the amount of blood that came out, something in my entire being changed. And I was like, well, I know what I'm gonna do for the rest of my life. I am gonna go talk about my period and I'm gonna say, hey, if you got a person who's getting in their period for the first time, don't make it all doom and fucking gloom. Make it like, yeah, it's gonna suck, but there's something more there. And, like, if you actually talk to every person on the planet who's getting their period that way, what kind of shift would you see? So we're asking a lot of questions. That's kind of the basis of our work. We're activating people who are tired of the status quo. And the status quo are products that had chemicals in them that don't decompose, that are horrible for the Earth. Questionably, how good are they for your body? And we're giving them another option. We love to say, like, if pads and tampons are Democrats and Republicans, we're your third party.
- [49:43]
A
There you go.
- [49:44]
B
There we go.
- [49:45]
A
Optionality is important.
- [49:46]
B
Yeah, Listen. And then another driver of the company just to not go on and on about it. Is that what we really, like, we kind of thought we were a sustainability company, and we thought we were this mindset company, but then when we launched, we were inundated with people asking for products. And of course, I knew of period poverty, but I didn't know that it's a human rights crisis and that 80%, close to 80% of people who have a period right now don't have products. Wow. Yeah. And all the violence that comes with that, including the violence of not having dignity, is just unacceptable. And so we really shift it quickly, and we have a mission vertical. And mission is the incorrect word, but we have a helper vertical, I guess, that will work with anybody, really. Doesn't matter who you are. If you're willing to get product out to people, we will sell you product at, like, our cost. And we've distributed over a million pairs since we've launched.
- [50:51]
A
That is incredible.
- [50:52]
B
Yeah. Wow. This is the year we're actually gonna start talking about it.
- [50:55]
A
Yes. I'm so glad you're here talking about it now.
- [50:57]
B
Yeah, me too. Thank you for asking. Cause, you know, I know the fashion's a little more fun, but for me, this is kind of where I really want to be is in this. In talking about it. It's like, it's a solvable crisis. It's not necessarily solvable when you give someone just a few pads. You know, it's like a sustainable routine for them. Yeah. It's lifelong. Yeah. And when you give someone, like, what we do is we give people a five pack that lasts for, like, 10. Like, can last up to 10 years. So you're really taking your baseline would give someone dignity. And I could just be Done with that. But I have a great example is, like, we worked with this group in Kenya, and they support these women tea pickers. And so the women pick the tea leaves, and they're paid by the weight of how much they can pick each day. You know, much like migrant farm workers in America. Right. This is not exclusive to developing nations at all. It's here in the United States. It's brutal. It's a brutal, brutal crisis that we see. But this is one of my favorite little case studies we've done is that. So we gave, like, we worked, I think, around 300 farmers. We each gave them a pack of, like, four pairs of underwear. A lot of women didn't even have. Have underwear of the people we work with. So within one cycle, they had five more days of income.
- [52:23]
A
Oh, wow.
- [52:23]
B
Because they weren't going to work with their periods. They couldn't go. They weren't allowed in the field if they didn't have period products. Not all of them didn't have access to pads, but the majority of them didn't. And so we see these women having five more days of income.
- [52:39]
A
That's incredible.
- [52:39]
B
It's a powerhouse. How are you changing their life? It changes their life. It changes their community. It changes their status in their households. It changes everything. And so that's the big focus is like, who can we partner with to distribute? The biggest issue for us is distribution. It's like finding ways to work with local governments and NGOs, and it's really on the ground. And the people who are distributing it, we pay them as well. Because I don't think this too often, like, nonprofit work falls on women to do for free, and we don't believe in that. And so we're just like, we're the product, and we're trying to get it to as many people as possible because I know that it can shift. It can shift the world. Because we all know if women do well and girls do well, like everybody does well.
- [53:26]
A
Absolutely.
- [53:27]
B
This is a key part of their lives that needs to be helped.
- [53:31]
A
You've done so much incredible work with it. I'm excited to see what you do this year.
- [53:34]
B
Yeah, me too. Me, too.
- [53:35]
A
Congratulations.
- [53:36]
B
Thank you. Of course.
- [53:38]
A
Thank you for coming on the show.
- [53:39]
B
Oh, what a pleasure.
- [53:40]
A
If you guys are interested in learning more about the Period company, it's linked in the description of this episode. You can buy them as well. I just got myself a pair.
- [53:47]
B
Very excited, of course. Let it flow. Yep.
- [53:49]
A
Thank you for being here.
- [53:50]
B
Oh, what a great combo. Thanks, Liv.