← The Who What Wear Podcast
The Who What Wear Podcast
Celebrity Stylist Erin Walsh on "The Devil Wears Prada 2" Press Tour, and Her New Book, "The Art of Intentional Dressing"
00:32:03
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- [00:00]
Hilary Kerr
Foreign.
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Podcast Host/Announcer
Welcome to the who, what, where? Podcast. I'm your host, Hilary Kerr, and today I'm speaking with celebrity stylist and author Aaron Walsh. Aaron Styles, some of the biggest names in Hollywood. Anne Hathaway, Selena Gomez, Mindy Kaling, and Alison Brie, to name a few.
- [00:28]
Hilary Kerr
So, of course, we're talking about the
- [00:30]
Podcast Host/Announcer
fabulous the Devil wears Prada 2 press tour, including all of the fashion homages to the first film that we've seen in Anne Hathaway's looks so far. And we're also discussing Aaron's new book, the Art of Intentional Dressing, which comes out on May 5th. It's all coming up on who, what, where.
- [00:57]
Hilary Kerr
Erin, I am so excited to have you back on the show. Thank you so much for doing this with me, especially at this insanely busy moment in your life and your career. I was just looking back, do you realize that we have not sat down to do this since 2022?
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Podcast Host/Announcer
No.
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Erin Walsh
That's crazy.
- [01:15]
Hilary Kerr
Kind of crazy. Quite a lot has changed since then. That was very much like, towards the beginning of some of your work with Anne Hathaway. Since we last sat down, you have been featured as one of the Hollywood Reporter's most powerful stylists. The. And you have also written a book. Since we're coming off of awards season, I would love to start by talking about Anne Hathaway at the Oscars because of how it starts to tie in to the Devil Wears Prada, which we obviously need to discuss. But talk to me about how you looked at this specific occasion. She's wearing Valentino with bulgaria. I assume that you knew that she was going to be presenting with Anna.
- [01:59]
Erin Walsh
I did. I did that.
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Hilary Kerr
Okay. Bearing that in mind, tell me about how that look came together. What sort of thought process you had about this moment in the context of the Devil Wears Prada, but it still
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Erin Walsh
being the Oscars, that was an interesting one. Originally, they weren't gonna walk the carpet because they were going to be a surprise. Which brands always hate that, actually. Cause it's like they want the carpet moment.
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Hilary Kerr
I get it.
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Erin Walsh
But I think it was essential for the Oscars to just kind of set a new bar and for it to feel very movie star and iconic and very full circle with Valentino at the Oscars. And he, having had a long standing relationship with him for many, many years and since he just passed, like, felt important to honor his legacy there. Definitely you get the play on florals for spring in the dress. Arriving to that one, though, it just felt very clean and clear and feminine and iconic. And a good way to get things going.
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Hilary Kerr
It's been lovely to see, both from us and from the wider press, how much love that there has been around Anne's looks recently and how everyone's saying, she's never looked better. She totally looks like herself in this new style era. In the foreword of your book, she wrote, with Aaron's help, I have found a style that I feel has expanded to fit my. My life. As my stress about clothes has decreased, a certain boldness and joy has emerged. When you started working together in 2019, were there specific questions or conversations that helped shape this style evolution?
- [03:42]
Erin Walsh
Absolutely. I mean, back when I met Annie, she was pregnant. So I think that the really interesting thing with fashion and our understanding of starts with accepting and having compassion for our bodies and where they are, and to meet at that time, trying to honor how she's feeling and what she needs to feel, given, like, a hectic press schedule both then and now, that's always the compass. We're always plugged into this compass of intentionality. And with her, she's coming to the table with a complete lexicon and understanding of 20 years in fashion before we met, being a person in the public eye in many different ways and many different occasions. So always for me, the work has been about collaboration and honoring who she is and using all the tools in my box to help expand and tell that story.
- [04:32]
Hilary Kerr
Talk to me about those tools in your kit. How have you developed them over the years? If we were sitting down 10 years ago, what was your toolkit like then versus what you know now?
- [04:43]
Erin Walsh
What a good question. And it's such an easy answer. I would say 10 years ago. I had my daughter about 10 years ago. She's sitting in the office listening right now. But back then, I don't think I was completely confident. And not to say that I'm completely confident now, but I don't think I was as compassionate for myself and for my work process. When you can, like, approach yourself and every day through a lens of love and compassion, I think everything flows better, and it's easier, and it feels better, and it. It feels more purposeful. And I think the second I started rooting each day and my work, even from a deeper spot, everything just started to feel more magnetic and easier and beautiful, and the work is better because I see the bigger picture much more clearly now. And I don't mean to sound so lofty, but I genuinely do believe that there is so much potential for substance and style and its transformative power to, you know, make ourselves feel better and live a life of integrity, like meaning, dressing and embodying the part of the woman that you want to be so that every part of you, from what you wear to how you feel, is in alignment with that person. I have compassion for the woman I was then who very much was in the daily exercise of not feeling enough, wondering if I would be enough, wondering if I was good enough to do the work or even walk the part of myself and. And what I've done, you know, in the writing and creating of a book and creating a method to use in my work. It's a means to every day choose that I am worthy and worth the effort of offering little ceremonies to myself, and a means to reboot and get back to that vision and that ideal. You know, it's. You ask about 10 years ago, but I'm thinking even 20 years ago when, you know, the Devil Wears Prada came out and I was an assistant at Vogue, panicked and definitely never feeling like I was good enough for the job or anything, anything. It's all very full circle. I think life offers those journeys to clarity when you can better understand. And that comes through courage and clarity
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Hilary Kerr
going full circle on this. The Devil wears Prada 2 comes out in the beginning of May, May 1st. And obviously, there has been so much anticipation around the film and around the press looks. You say that you like to start with how someone wants to feel. What was the process like, and what were some of those key shapings for this press tour?
- [07:17]
Erin Walsh
I think in the sauce of creating a press tour like this, it's a constant dialogue. You can make decisions about what you think will work, but then you need to pivot. And as things are happening in real time and you know there's a cast that you're working alongside, you want to just keep evolving and making the work better and refining and retuning. And one of the things I love about the original film is its exploration of the depth of fashion and the joy that it can offer and its transformative power. So really finding ways through the choices on this tour, to explore those themes in every single fashion tool at our disposal, from color to texture to shape to silhouette to designer range, bringing attention to newer designers, honoring the ones that we've known and loved. And at its heart, to me, fashion should be a means to bring us to our joy. You know, as a viewer, from the
- [08:08]
Hilary Kerr
outside, it has been such a joy watching how Anne and Meryl Streep's looks have been so complimentary, and they feel so beautifully in sync. Like Anne in All red Balenciaga with black pumps at an event in Seoul. And then Meryl in head to toe black Celine, and then Anne in black Schiaparelli in Mexico City, and Meryl in custom red Dolce and Gabbana suit. So I assume that you and Meryl stylist. Mikayla.
- [08:38]
Erin Walsh
We talk a lot, and I think
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Hilary Kerr
there's something so lovely because so often you see press tours and it's clear that folks are not communicating and folks are on very different pages. So to see this, like, you can tell that there's clear, like, mutual respect and relationship and conversation.
- [08:55]
Erin Walsh
Totally.
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Hilary Kerr
How. So walk me through how that works. Are you calling Mikayla and saying, okay, I have this red. I'll take red here, you take red there. We're gonna do this here. How.
- [09:05]
Erin Walsh
How does it work? Something like that. I think what is essential for us as women working in the world of fashion is supporting each other and not being competitive with each other and collaborating together and helping each other be better. F. Yes. Like, I just. I don't have the patience for competitive shit. And I will say that the women, especially on this tour, have just been, like, team players. And it's been really fun and validating and inspiring to feel held and supported as a team. And I think the work reflects that. Absolutely.
- [09:43]
Hilary Kerr
You have so many press days. There are so many moments. There's so much going on. How are you looking at the arc of that storytelling? How do you plan but then still build in enough optionality that you can shift if the weather changes or if someone isn't feeling like, a certain look on a certain day?
- [10:04]
Erin Walsh
You just have to always see three steps ahead of you, because whether it's a press tour or how you pack for a trip, ultimately, you need to be able to move as, like, a certain amount of flexibility makes you more powerful and able to, like, be in the flow and feel more powerful and empowered.
- [10:23]
Hilary Kerr
The Virgo in me wants to know, how long does it take to pull all of this together?
- [10:28]
Erin Walsh
So long, Hillary. So long.
- [10:30]
Hilary Kerr
Can I have details on that? Like, how long? Where do you go from, like, ideation to, like, oh, things are still moving for the premiere? And that's, you know, the.
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Erin Walsh
I think we're, like, a bit like a traveling circus. We're just always, you know, adding to our recipe and editing and refining and, like, it's.
- [10:47]
Hilary Kerr
It's a living beast.
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Erin Walsh
It's certainly, yes, encompassing.
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Hilary Kerr
Did you start prepping six months ago? A year ago? Like, how far in advance?
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Erin Walsh
I mean, ideating, Absolutely. This is something, but it's funny Cause I worked with Sarah Jessica Parker previously too. Like, the legacy of Pat Field as a costume designer was in my pores for many years. So it's just like kind of re tapping into those elements of what makes fashion magic.
- [11:16]
Hilary Kerr
Okay, I want to talk about Tokyo. So Anne was in this beautiful ruffled Valentino couture dress and an updated version of the rockstead heel, which also is a little Easter egg to what we have seen from the trailer. Can you talk to me a little bit about the significance of that look and that shoe and why it came together in the way it did for Tokyo?
- [11:41]
Erin Walsh
I mean, that look, it just felt like such a specific, perfect way to start in Asia and in Tokyo. Even the origami effect of the dress, it felt so Japanese. The color story was obviously perfect. I loved the white rock stud shoe. The new shape is excellent. It's so flattering. The ankle strap placement and the two toe cleavage, it's just gorgeous. And it's a really great update on a style that I think many thought was over. But if I have to place any bets, I would say it's for sure back. And it looks better than ever, in my opinion. Obviously, Meryl was wearing Chanel and the color story, like we were simpatico and completely different texture and silhouette stories. And it just felt like really fashion and fun and joyful and great. I loved that start to Asia. It felt really awesome.
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Hilary Kerr
I also want to ask about the homage to the cerulean sweater. As you're planning things out, you have the primary color palette of black and white and red. But then obviously there are these other knots. There's florals for spring, there's cerulean sweater. There are all of these other moments. How do you think about placing those throughout the course of a press tour?
- [12:52]
Erin Walsh
I mean, like with the Sakai cerulean sweater, like, that felt like, of course, it would be nice to have that in Japan. And seeing that on the Runway, it was like, how do we figure out a way? Because it's a very over the top sweater. So, like, where does this make sense? And what's interesting too, in a press tour, there are so many look opportunities, and not necessarily all of them are digested in, like, the large scale way that, say, a premier one would be. But that doesn't mean that you don't want to be intentional about all of them. It's just so much fun to just try to put in all the layers as well as possible and see, like, what resonates. Not everything will resonate. Some of it will. It depends on who's looking at it and what they take from it.
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Hilary Kerr
I'm so overwhelmed by. You have the book, which we're gonna get into. You have Devil Wears Prada, but then you also have Mother Mary and the press tour for that. How do you work in coming up with two completely separate tours for different projects?
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Erin Walsh
That's an interesting challenge. And we were always conscious of having to lean into that separation because Mother Mary Premier impress was literally in the middle of the Devil Wears Prada run. So it had to be differentiated, which, you know, Orlando PETA, her hairstylist, even did with her hair. Like, much more pop star energy, really. Giant shoes, really, like, sexy pop star texture, energy, bold shapes. But it was just something we had to be conscious of, like, injecting that so that it felt clear. Cause otherwise it could feel chaotic, you know, and we don't ever want that.
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Hilary Kerr
Let's talk a little bit about Selena Gomez. She's another client that I feel like you unlocked a new style era together. She has a very rabid fan base that has a lot of thoughts about how she should look. Talk to me about how you focused on the most important thing, which is Selena and her essence and what she wanted to build with you.
- [14:41]
Erin Walsh
I love working with Selena because she's somebody. First of all, she's a wonderful, beautiful person, but she's somebody who uses her platform to make the world a better place and to connect with people in a real way. It always has felt to me like it has to be genuine and clear and really just a means to help her and her message shine. So I've found, like, with her, less can be more, and just letting her beautiful essence shine has. Has really been the point.
- [15:07]
Hilary Kerr
So I want to talk about an early look that you worked on together, which is for the VMAs. And she wore a custom red beaded Oscar de la Renta gown that went viral immediately. From the outside, it feels like she's been leaning into specific, beautiful, bolder colors, often red. There have been a number of old Hollywood or, like, very glamorous looks. What are some of your favorite references or brands and designers for Selena?
- [15:38]
Erin Walsh
I feel like, reference wise, we got into such a great space with the old Hollywood and kind of Sophia Loren and decolletage shapes and just beautiful deep colors and impactful but streamlined silhouettes. Trying not to do anything too fussy or too overwhelming.
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Hilary Kerr
It really works for her.
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Erin Walsh
It really. It really works. And the glam team is amazing, and the team she works with is amazing and supportive and I think everybody was zoned in together on, like, how are we trying to tell this story? And we were all on the same page, which. Which just makes it stronger in general. When you work with somebody in their glam team as well, you just. You want to, like, use each other and, like, be on the same page. You're more powerful when you're cohesive, certain.
- [16:22]
Hilary Kerr
So I also want to talk about your book. It's called the Art of Intentional Dressing, and it's a guide to getting dressed. But it's also about living an intentional life and using style as a tool. We've obviously talked about some of the incredible work that you've done with two of the most important, talented, thoughtful, incredible women in Hollywood. But I'm curious about how you reverse engineered your styling method and work with them for a regular person who does not have a stylist to use. What's that process like?
- [16:57]
Erin Walsh
I think that people look up to the people on the red carpet. They look up to celebrities. They look up to the stars because there's something they see in that person that they feel within themselves to be true or they feel within themselves to be possible, or that they hope for that essence to acknowledge within themselves. And the reason why I made a book in the first place was because it was these celebrities I was working with who were feeling this way, but it was also all these women all over the world in the country I was meeting, not just in the major cities, who had this relationship with getting dressed that it just made them feel bad about themselves. I knew that I wanted to be the one to rectify that, and I knew that I had to laser in on a means to be the person to make that change real and actionable on the daily in our lives, which was the reason for the book. And I realized I had been doing these things all along, and I just had never, like, written them down into an acronym. And the method in the book, of course, is the create method.
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Hilary Kerr
Yeah.
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Erin Walsh
But really it's about getting clear on how you want to feel. How do you want to feel every day? How do you wake up feeling? What's your baseline? How do you get to how you want to feel? And how does clothing do that? How can your choices every day with what you wear just be your catalyst for embodying the woman that you want to be, getting back to that intention every day and helping and using this method to get and keep staying tethered to your course. Because we don't get to control how we wake up feeling. We don't get to control our schedules necessarily. We don't get to control our, you know, the curveballs that get thrown our way. So just this offering to yourself of crystal clear intention every single day. To me, it's been game changing. It's changed how I feel, how I offer myself to the world. I've always thought of the book as being more of a movement because I fundamentally want to shift the way that women view themselves and their power and their potential and the idea that clothing is not a luxury. We all get dressed every single day. How do you make it intentional? How do you use it? How do you harness it? And when you do, it has a ripple effect in your life where every single thing starts to feel more intentional, more realized, and more real and more meaningful. That's a magical transformation and that is game changing. And I just, I want that for people. If you look at like cultural kind of touchstones, like what Marie Kondo did for organization. Yeah. I want this book to do for women's closets. And I want women to wake up and ask themselves every day. Three words. How am I feeling today? For me, I was tired, overwhelmed and exhausted. Very tired. But I knew that I had a couple conversations I was going to have for work, some packing to do, and, you know, shopping with my daughter. So I wanted to feel elegant, supported and empowered. And that's how I got here today. And knowing, like how I felt and getting clear and getting real with myself on what's my baseline, what do I need, how do I want to feel? It's changed my day. And I keep reconnecting with those words and reminding myself, this is what we're tethered to. This will get you there. In that way, our intuition gets stronger and stronger and we better know what we need and how we can serve other people, including ourselves.
- [19:56]
Hilary Kerr
Can you talk a little bit about the create method for our audience and like, give me an example of how it works.
- [20:04]
Erin Walsh
So number one, create is an acronym. The C in create is for clarity. So you ask yourself, how do I feel? How do I want to feel? The R in create is for rituals. What are the steps that I can get back to that person? What kind of movement do I need? What kind of sensorial activations, what kind of mantra, what kind of meditation? Most working women I know have so many roles they play in beginning of a day. So by choosing to set a foundation and even the act of like little steps, five to 10 minutes, it gets you re centered and back to yourself. Before you get on the treadmill and just start Doing, doing, doing editing is your closet. That's the E in the Create method. And that means taking the time with every single piece in your closet and deciding, how does this make me feel? So this jacket makes me feel elegant, empowered, and effortless. Right? You do that with every single piece, and anything that doesn't resonate with you, you get rid of. Like, it doesn't need to take up space in your closet. Most people's closets has a bunch of stuff in it that doesn't resonate with who they are, who they want to be. It's who they used to be. That maybe it's stuff that they feel bad, you know, about buying because it was expensive or they used to fit into it. Most people don't get real with their closet because in the same way that most people don't even really look in the mirror and see who they are, whether that's size or the things that they're afraid of are the things they haven't done, are the things they still want to do. And choosing to get clear, take steps to be yourself every day. And to edit your closet in that real way gets you to the next letter, which is alignment. That's the A in the Create method. And that means beginning to understand that your whole body and all its systems, from your nervous system to your energetic system to your chakras. Like learning to use clothes to support those systems so that you can still find your supernova self when things feel overwhelming. That's essential. The T and Create method. That's your truth. And this is what we do. Like it or not. You tell the story of who you are every single day to the world. And what you wear is a big part of telling that story. The E is expansion, and that is the decision to keep expanding and growing. And that starts with making a promise to yourself by taking this time every day to decide that you matter and to ask yourself, how do I want to feel? And it all comes down to that question, how do I want to feel? And by asking yourself that, every single day, you are also acknowledging that you're changing and that you're growing and that things that maybe worked for you before don't anymore, and that you might need some more of this or this. Because your role is changing. And I think as women, you know, our bodies are changing all the time. The demands of us are changing all the time. The world is changing in a very unpredictable way. So these systems to get back to yourself are essential, and they're inspiring and they're impactful, and they're worth it. And it's very much why I made a book. It's why I have an app coming out after the book called the Create Method, which lets you do this every day on the daily I walk you through it as AI Me, so I can reach more people. I'm really excited about that. I want to be the change I want that I want to see in the world. So try offering it in this way. Aaron.
- [22:50]
Hilary Kerr
I love that. I can't wait for AIU that's the only time I've actually been excited about
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Erin Walsh
AI on your shoulder, little fashion therapist, please.
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Hilary Kerr
So there are. There's so many great takeaways and tips in this book. One I'd like to ask you about is applying Sacred Geometry to your style. Can you talk a little bit about what this means and how our who, what where listeners can use this as a helpful tool when getting dressed?
- [23:16]
Erin Walsh
It's important when you get clear on yourself to acknowledge what you don't feel great about your body that is a part of that journey. But all of our bodies are designed by nature, like, to be perfectly imperfect, whether you're 10 pounds up or, you know, postpartum or perimenopausal or whatever. So this idea that, like, your body is literally this, like, roadmap of possibility and that proportion and structure and textures can help support that. I want to shift the lens for women so that they can refind that idea of what makes them feel beautiful, like what within their body makes them feel strong or elegant or empowered or important or worthy. And in terms of sacred geometry, there's so many layers of that. There's so many talented designers from Zac Posen to Iris von Harpen that have tapped into this over the years. And Valentino, for one, was one who believed very much in the power of beauty and the power of fashion to make women feel beautiful. And that, I think, is worth getting into the book to understand more. If you can acknowledge that every day, it will make you stronger. I think with the method, I like the idea of it being accessible to everybody. And the more you want to learn about it, the more you can unpack and, you know, especially the Alignment chapter and. And Sacred Geometry. I think there's probably, like, six other books there. It's a very layered subject, and not everybody can unpack the Da Vinci Code every day when they get dressed. But I am limitless. I am beautiful. I am strong. I'm created in perfection, like attaching yourself to something bigger than yourself. Whatever you believe is helpful.
- [24:44]
Hilary Kerr
And I think it's so important for folks to hear that. It's like, this shouldn't be punitive. And I think it's also particularly hard for women in their 40s and older too, of like, we had such incredibly negative feedback about what women should look like when we were coming up, and that imprinted on us in the 90s and like the 90s culture and, you know, early 2000s of like, what a woman should look like and what style should be and what who everything was for the male gaze at that point in time.
- [25:15]
Erin Walsh
Totally.
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Hilary Kerr
And it feels like really refreshing to now in my mid-40s to be unpacking that so that hopefully not only am I dressing in a different way and thinking through the process and feeling better, but also that our kids don't go through that as well.
- [25:31]
Erin Walsh
Oh, absolutely. I think motherhood is so enlightening in that way. And I've always believed that our kids are our teachers. And I might wake up feeling one thing, but I don't want to speak that to reality. Like, I think the business of speaking words to truth, like, whether we say to ourselves, I'm not enough, or, you know, like just this. This cycle of vitriol that's not helpful or productive to getting back to that bigger, beautiful version of ourselves, it's. It's time to let that go. Like, it's not just about affirmations, which is why the first step in the method is acknowledging how you feel, because that's an important part of the component to getting to how you want to feel. But that doesn't mean that you support that with self hatred and self doubt. The goal is to keep rising.
- [26:16]
Hilary Kerr
I always say the negative talk is praying to the wrong God.
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Erin Walsh
So 100%. Yeah.
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Hilary Kerr
Okay. I know you're incredibly busy, but I want to do a quick lightning round before I let you go. First and foremost, I love a little bit of a messy story. I also love a troubled situation and then hearing how people got through it. Because I think we, we as women in particular really need to hear stories about overcoming adversity, especially in the workplace. So I'm wondering if you can tell me about the biggest styling emergency that you've had to fix.
- [26:51]
Erin Walsh
Well, I mean, you can ask any stylist. Shit breaks every time people go out the door. You need to have a tailor on standby when people go out the door, number one. The funny thing is, and we can talk to the studios about this, they don't like to pay for tailoring. So I think that's something that we can proactively Shift. Everything gets delayed all the time. We've had to switch looks so many times because things didn't arrive or got stuck in customs.
- [27:14]
Hilary Kerr
Oh, yeah.
- [27:16]
Erin Walsh
So often, I think, like, because I literally have so many of these kinds of stories, you always need to, like, have your plans in place to pivot and to shift and. Same in life. Don't get fixated on the thing. If my goal is to, you know, fundamentally help someone feel and operate as their most beautiful and their best self, what they wear is a part of doing that for them. But it's not like there's only one dress that can do that. Right.
- [27:42]
Hilary Kerr
You need plan 1A, 1B, 1C.
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Erin Walsh
I have had, like, makeup spilled all over someone's dress when they were leaving for the Met gala, and the designer folded it like a curtain and hid it and sewed it behind. It was impossible to fix. You just had to, like, folded over. That happened.
- [28:01]
Hilary Kerr
Oh, no.
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Erin Walsh
Yeah. That was intense.
- [28:04]
Hilary Kerr
But you had the desire there to fix it. So, like, in a, like, the worst case scenario with the best possible situation at hand.
- [28:11]
Erin Walsh
Yes. Because that's so unusual. I believe very much in the idea that everything is figureoutable. Like, of course. Do things make me anxious? Yes. I woke up today feeling anxious. But what do you do, as we do in our closet in the morning, to reboot, recalibrate, readjust, assess. I think if you step out of a martyr mentality, like, much more is possible. Just, like, how do we get this done? It was something that was ingrained in me as an assistant. In Vogue is like that. No, doesn't exist. And you just figure it out. Like, you figure it out. I tell assistants not to panic. I say solve it. You know, I would love to hear
- [28:43]
Hilary Kerr
about a look that you loved on one of your clients, but is not something that you would feel comfortable wearing yourself or would want to wear yourself.
- [28:53]
Erin Walsh
Oh, probably so many naked dresses, right? I don't feel comfortable wearing naked dresses. Dresses definitely that Versace Annie wore in Venice. The beaded with the hood that I could. I would never, ever wear that. But it was amazing. I think in general, that would fall under the naked dress category. Just not for me personally, but excellent on a carpet.
- [29:17]
Hilary Kerr
Okay, and so then my last question is, this has been something we have asked a number of celebrity stylists, and it's been so lovely to hear the answers. Who is your personal favorite stylist who is working right now?
- [29:28]
Erin Walsh
Oh, there's so many. Can I list more than one?
- [29:31]
Hilary Kerr
Yes.
- [29:31]
Erin Walsh
Okay. I mean, number one, Carla is just a f ing boss. And she's so crystal clear on joy in fashion and empowering women and I love that about her and she's killing it. I love working with Mikayla on this tour. She's so crystal clear on her vision and it's really inspiring. I think Danielle Goldberg is like really zeroed in on a very chic and effortless and intentional way of working with women. That feels very much her. I love what Rob and Marielle have been doing for years. And like Rob especially, it's just this joyful, impactful.
- [30:05]
Hilary Kerr
How great is his outerwear too?
- [30:07]
Erin Walsh
I'm obsessed. Everybody listening. Go to outer A U T E R crushing it. You won't need to get any other coats. Literally. That's all you need. And that's true. Danielle, I loved what you did this award season and Kate Young is always crushing it and just really clear and intentional.
- [30:25]
Hilary Kerr
Well, Erin, thank you so much. It's always such a pleasure to see you. Thank you. Thank you for taking time out of your crazy ass schedule to talk to me.
- [30:34]
Erin Walsh
Thank you for making it happen.
- [30:35]
Hilary Kerr
Congratulations on everything. Congrats on the book. I can't wait for the app. That part I was not aware of and I'm thrilled about it. So we'll have to do a whole follow up story on there. When that comes out, we will create method app.
- [30:45]
Erin Walsh
There'll be some QR codes in the books and some of the appearances I'm doing. So we'll unpack more of that later.
- [30:49]
Hilary Kerr
Okay, excellent. Well, thank you so much.
- [30:52]
Erin Walsh
I'll see you soon. Bye.
- [31:00]
Podcast Host/Announcer
A huge thank you to stylist and author Erin Walsh. Make sure to subscribe to our show wherever you listen to podcasts so you don't miss an episode. And while you're there, I'd also be so grateful if you would rate and review us. You can now watch all episodes of the pod on our new who What where podcast YouTube channel. So please subscribe and check us out there if you have any guest suggestions or any other feedback. Find us on social at whowhatwere. See you next Wednesday on the who what Where Podcast. This episode was produced by Hilary Kerr, Summer Hammeris and Natalie Thurman. Our audio engineers are at Glen Canyon Audio and our music is by Jonathan Leah.