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The Who What Wear Podcast
Celebrity Stylist Karla Welch on the Game-Changing Power of Styling and Making Magic With Renate Reinsve and Tessa Thompson
00:40:43
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- [00:02]
A
Tell me if I'm alone here. Who, what where? Listeners. But shopping used to feel more fun before all the algorithm fed blah and the endless sea of dupes. But I have a confession. I found that fun feeling again on ebay. Because on ebay, it's not just shopping. It's a full on fashion pursuit. And when you find the thing, that adrenaline hit is real. Like when you squeeze that rare Adidas collab that's lived on your mood board. The Dior saddlebag you ripped out of a magazine in 2007 and never got over. Or something like The Cecily Bonson GT2160s that sold out in five seconds. Yeah, those. It's about the thrill of finding pieces that feel like me. And I want you to find pieces that feel like you. There's always more to discover. Ebay has millions of pre loved finds from hundreds of brands backed by ebay. Authentic guarantee eBay. Things people love. Welcome to the who what Wear? Podcast, your direct line to the designers, stylists, beauty experts, editors and tastemakers who are shaping the ever evolving world of fashion. I'm who what Wears? Co founder and chief content officer Hilary Kerr. And today I'm sitting here in our brand new podcast studio and sitting down with the legendary celebrity stylist, Karla Welch. Karla has been styling some of the biggest names in Hollywood for over 20 years, including clients like Tessa Thompson, Olivia Wilde, and Sarah Paulson. Karla is here to school us on what it really takes to be a celebrity stylist at the highest level. She breaks down some of the head turning looks that we've seen on her Golden Globe and now Oscar nominated clients. This award season and so much more. You can now watch all episodes of the podcast on YouTube and Spotify. So make sure to tune in and subscribe to our new channel. It's all coming up on who what where.
- [02:18]
B
Carla, welcome back to the show. You and I have sat down how many times? Like five?
- [02:24]
C
Okay, I was gonna say three, but.
- [02:25]
B
I think four, including the live one that we did. Remember when I asked you to come to a conference?
- [02:29]
C
Oh, yeah, yeah, yeah.
- [02:30]
B
It is really exciting to have you as the first guest in the new studio. Welcome home.
- [02:35]
C
Fantastic. Hi, everybody. Well, what a way to start.
- [02:39]
B
Yes, what a way to start.
- [02:41]
C
Hey, Virgos.
- [02:41]
B
So we're in the middle of award season.
- [02:43]
C
We are.
- [02:44]
B
Award seasons are like snowflakes. Each one is unique and individual and has its own fingerprint.
- [02:50]
C
But ultimately as all white. Oh, I don't mean in that. In like. I do not mean that. As in all white. I mean, it. It is always going to be the same on the ground.
- [03:00]
B
Yes. There's that year after year. What is it like this year? Like, how do you feel about this season? Does it feel different than previous seasons? And how do you feel about having yet another client nominated for an Oscar?
- [03:13]
C
I love Renata, and we've worked together since Worst person in the World, one of the best movies of all time. And we just have an incredible way of working together. So it's exciting, it's fun. I love awards season. Like, sometimes I can hit that. Like, the first week back was stressful. I was like, what are we doing? What am I doing with my life? Cause it's like, you know, I was back to work on the first. Oh, and then I think in that first week, we did 30 looks like between the two gals, Tessa and Renata, who were both nominated for Globes, and Amy Poehler, of course, who was also nominated and won a Globe.
- [03:50]
B
And won and won.
- [03:51]
C
Yes, it felt like a lot, but it felt like a lot for everybody. You see all the stylists walking around like zombies.
- [03:58]
B
To that point, it's not just for the Golden Globes. It's for the thousand auxiliary events and parties and luncheons and tea.
- [04:06]
C
Three things a day. It's just like, they're back in full force. And with the Globes, the nominations come quite late in December, and you don't want to jinx it, even though you kind of know, obviously, that you're going, like, I knew, honestly, since I've known since Cannes that Renato would be going to the Oscars.
- [04:22]
A
Really?
- [04:23]
C
Yeah.
- [04:23]
A
How do you know that?
- [04:24]
B
Like, what is.
- [04:24]
C
I saw the movie, and I knew how unbelievable it was and special it was, and I saw how it did in Cannes, so I knew that we would be going to the Oscars.
- [04:34]
B
So when you have a client who has a film like that, where you get so excited and, you know, like, Ruth.
- [04:41]
C
Yeah.
- [04:41]
B
I feel like that was another situation where, like, from the first screening, you were like, okay, this is it. You're going to go all the way. When you have that moment, do you start doing some Virgo calculus in your head?
- [04:53]
C
Yes, obviously.
- [04:57]
B
Yeah, obviously. So what does that look like in your head? Is it. Are you thinking about shape? Are you thinking about color? Are you thinking about brand? Are you thinking about, like, how early do you start putting feelers out? Do you tell me what your process is?
- [05:12]
C
Yeah, it really, really depends. You know, when it was America, I work always. I always work backwards. Renata is Unique that she's a Louis Vuitton ambassador. So we're working with the house. So we started in. Obviously, we had a look in Cannes. Two looks in Cannes, because you knew it was gonna go to the. Like, they won second place. But then in July, knowing that Europe's off for all of August, which we really need to adopt here in America, and they're off, off.
- [05:41]
B
They're, like, not answering the cutting.
- [05:44]
C
There's nothing. There's nothing happening. So we started in July and. Cause I really, really wanted to be on top of it with just, like, what the inspiration was, what I wanted to achieve for her, what the dates were of. So how many looks we were gonna need. Because all her looks ultimately are custom looks, of course. And so just, like, started with, like, a little mood board, and then. Yeah, kept rolling. We regrouped end of July. Then we grouped first day back in September for them. And then we just started making dresses.
- [06:13]
B
Okay. So I have to say, I feel like, from an editor's point of view, I don't love ambassadors because I like to see a wide range of things.
- [06:24]
C
You're talking to the loudest voice here on how much. I don't love it because I always want to tell a story. You know, when ruth was nominated 10 years ago for Loving, we told, like, a pretty incredible story. We got to wear whoever we wanted. But. But at the same time, I want to deeply respect people's ability to make money totally. Because at the end of the day, years ago, you would see a dress in the Oscars, and you would think about it for months, or you'd see a dress at the Globes, and you'd be talking about it for months. But now it's over immediately. Nobody's talking about, well, we are today. But, like, on the Monday after the Golden Globes, you're already on to another stuff. We've become this churn, this factory. And I think it's to our downfall, to our demise. Maybe not our demise, but it's a real, like, dip, unfortunately, in how we process these really special moments. Of course, I always want the moments to be really, really special. But it's so fast. So if someone's gonna do a deal, so be it. So be it. I always am. Like, it's gotta be the best dress. And I'm not saying everybody's getting paid. Cause they certainly aren't. But I'll never get in the way of that, because I do understand that it's very hard to make money. It's a business. The award season, movies Are independent films, you know, sentimental values, made for a penny. Make your hay while the sun shines, people.
- [07:48]
B
That said, while I don't love an ambassador situation, for all of the reasons that you just articulated so beautifully, I will say that her, like, you are getting the best of the best of the best from Vuitton. How are you landing that? Because when I go through the looks. Jaw dropping.
- [08:06]
C
Yeah.
- [08:07]
B
Futuristic. The best of the best of Ghesquierre like it is. She is looking outrageously good. And I know that you have a role in that. Obviously, like, he's a genius, but how is it that you work within the confines of a single brand?
- [08:24]
C
You know, I think Nicolas Ghesquier is, like, one of the greatest of his generation, you know, no question. And he's a genius. And I think sometimes when the all the moments come together, this is a woman who deeply inspires him. There's something so kind of incredibly special about her that she can just take his clothes and, like, she feels them. Then I think, like, we're relentless. Like, I think if you talk to any PR team, any designer, that that might be something they could say about me over the last, you know, 20 years of my career, that I'm relentless in the pursuit of excellence and that I'm not gonna. Unless it's perfect. I'll go all the way back to, like, the first Oscars we did together in 2022, and she wore an off the Runway look. And then Nicola made us these lace leggings to go underneath it, and it was just so cool. And so I just. I think she's, like, a perfect muse for him. And I think the dresses for me, that's always my statement kind of to the team is like, I want it to be the most, like, Nicola Gascare dress ever.
- [09:32]
B
That's a good way of asking for some.
- [09:34]
C
And I think that they always, always are like, that Golden Globes dress, I think, is one of my favorite dresses of all time.
- [09:39]
B
Okay, talk to me about how this came together. Do you start with color? Do you start with shape? Do you start with texture? Do they show you things?
- [09:46]
C
I always want a French dress. I mean, I'm so. I always girl who doesn't. Exactly, exactly. It's like, how do you find a dress? The globes for me are always kind of when I'm thinking. I'm thinking, you're not quite nominated yet.
- [10:00]
B
For an Oscar, so it can't be like the full, full thing.
- [10:04]
C
And it's room that's very tight. They're all moving around. It's a total party.
- [10:09]
B
No trains if you can avoid it.
- [10:11]
C
No trains if you can avoid them. And just like, you know, but it has to be special. And so I wanted to work with. We're working kind of in an interesting palette. Cause she doesn't need a lot. You know, we don't do jewelry, we don't do a lot of hair, and we don't do a lot of makeup. But, you know, you know, I'll always nod to Cher, but there is, like such futurism there. That felt like very him. That dress is so spectacular. It was so heavy. It's two pieces, actually.
- [10:37]
B
No, really? Yeah.
- [10:38]
C
I think there's 800,000 metal beads that made that fringe. Stop it. So for me too, it's like, I just love the craft of it all. Like, I think of the people who made those strands of fringe. Yeah. And when it arrived and we fit the toile for that, you know, with no fringe in. At the London Film Festival was like, okay.
- [10:58]
B
I mean, you're also like, hoping, praying.
- [11:01]
C
You got a prayer, you got a backup. But I loved it. It moved and it was just like, people were pretty gagged over it.
- [11:09]
B
I mean, it was really, really, really phenomenal.
- [11:11]
C
Yeah.
- [11:12]
B
And I love, though, like, I feel like I see this interesting through line with her where it's minimal, but it's special. It has some sort of architectural aspect to it. It doesn't feel plain. It doesn't feel tired ever. It's really thoughtful. So I also. I want to talk about this look. The Givenchy Sarah Burton for the Palm Springs International Film Festival. How did that come together? Because in some world, this could be a totally, like, traditional dress, but it's not. It's so elevated and so interesting and I love the sheerness.
- [11:48]
C
Well, that was fitting like, you know, hours before stop.
- [11:52]
D
Yeah.
- [11:52]
C
She had got in from Oslo on the first, and we had to. It was on the second, but late on the first. So jet lagged. And she's so. Renata's so funny. We had it pre lined, even though it wasn't shown lined. But I was like, oh, it's Palm Springs. What are we gonna do? To be honest, the way it was lined was. She put it on. I was like, oh, no, no, no, we can't do that.
- [12:14]
B
Why?
- [12:15]
C
Because it just didn't look it. It wasn't Was giving ice skating. It was just like giving yuck. It was like not well done and oh, okay, technically. And then I was like, this is the Runway. And she's like, yeah, yeah, do it like that. But she didn't. She thought I was just gonna cover up the belt. She was like, oh. The next day, when I went to fit on Donna real quick before she drove out, she was like, oh. And I was like, yeah. And she's like, okay. Instead of 2026, it's like 2020. Sexy was our kind of theme. She felt amazing. And then just, like, the underwear was a choice, like, to go white, and I didn't think it worked. You know, that's also a thing you can do with ambassadors, too, of course. Like, they're brands you can't wear, but then there are brands you can. So in the lesser moments, just as a strategist, I want to make sure we go pow, pow, pow, pow. Because even though she's one can and is one best actor, like, many times over, for her other film, she wasn't as known yet. For some reason. I feel like she's also getting to have this really great moment.
- [13:13]
A
Yes.
- [13:14]
C
And it's fun to be a part of it, But I think dresses like that and then the follow up, you know, it's about a pace. I think that that really helps.
- [13:22]
B
Okay. So I also love the way that you have really thoughtful, like, color story nods, too.
- [13:28]
D
Yeah.
- [13:29]
B
So talk to me about the Calvin Klein, the white with the kerchief situation. Like, I again, wear, like, something so simple, but. But suddenly it becomes really impactful.
- [13:39]
C
Yeah. And a choice to do it just like it was shown on the Runway. I mean, I loved it when it was shown. And there is a bit of a funny story about this dress, because we were actually gonna try this dress on Tessa for the Gotham Awards. And the dress was supposed to be at the hotel in New York, and I was out there with Tessa. She was doing press for Hedda and his and hers. The dress got thrown in the garbage by the hotel.
- [14:01]
B
What?
- [14:01]
C
Yes. It was just, like, a mistake. Yeah, a mistake. A clusterfuck. And then weeks later, it showed up, and of course, we were done. But honestly, this dress did require someone of significant height. And we were doing. Renata and I had a shoot that's coming out, and I was like, a bunch of clothes didn't show up for the shoot. And I was like, I'm just going to take this Calvin dress. You know, I made sure it was okay with them. And she put it on at the shoot. And she's like, why don't I just wear this? And I was like, exactly, exactly. And I was like, come on, wear it with the headscarf. She's like, yeah, for sure. And so the European fashion wars is a little more low key. She did her own hair and makeup, but I was like, renata, you have to, like, in the car, because it's gonna wrinkle.
- [14:41]
B
Going back to the Gotham Awards, can we also talk about this custom Vuitton look as well? Which, again, sculptural in all of the best ways. I love this dress. Minimal, but so impactful. How did this dress come about?
- [14:54]
C
Well, this dress was supposed to be more on this side of the year. And then the Vuitton people really wanted her to wear one of their dresses for Gotham's, which is great. She was presenting.
- [15:04]
B
So you wanted to hold this for.
- [15:06]
C
I was kind of thinking I was holding it, and it wasn't even supposed to come. And then these other dresses came, and I was like, I don't. They weren't quite what we were after. And so we probably weren't gonna wear them. And then they're like. But we did send the red. And of course, she put it on, and we were both like, ah, yeah. This, to me, is very like Nicolas Ghesquier Red Beau. It's very much an ode to the red dress Nicole Kidman wore, which is one of the best dresses of all time.
- [15:31]
D
Yeah.
- [15:31]
C
When she presented at the Oscars. So that's what I. Yeah, of course, we old.
- [15:37]
B
I was. Well, no, I'm just to your point earlier. Yes, yes. It moves quickly, but they're the ones that are good. You still remember.
- [15:44]
C
But that's from a different time. We're not going to be. Or maybe I hope people are like, oh, her dress at the Golden Globes that you go back to.
- [15:53]
B
Yes.
- [15:53]
C
But I just think the turnover is so fast. Now.
- [15:56]
B
Talk to me about her look for the Cannes Film Festival. What color would you call this?
- [16:00]
C
Lilac.
- [16:00]
B
Lilac, okay.
- [16:01]
C
Yeah. I loved this. I love how timeless some of these designs are, even though they're edgy. That's what I kind of love about her. It's like, classic with a little bit of a something else. Because we thought maybe not. There's nothing sweet. Even that Givenchy. So sweet. But it wasn't sweet at all.
- [16:21]
B
No.
- [16:22]
C
I had sketches for it the year for the Oscar before. Cause we thought maybe this foreign film she was in was gonna get nominated. It didn't. Which. Fine. And so I asked. I said, oh, let's try this dress on for Cannes. And we met in Paris and tried it on. It was perfect.
- [16:37]
B
I have had the great pleasure of getting to go to the Cannes Film Festival exactly once as a guest. Those stairs are no joke. Do you think about designing for stairs and all of that? Like, what goes through that?
- [16:50]
C
I always think about what I love about this dress is how sharp that hem. Through trial and error and lots of error that you kind of have to go a little shorter than you think in general. Because if this skirt had a bend to it, yeah. I would want to run through whatever windows behind us or wall that's like if I saw a bend. And so what I love about all my girls kind of is like we really find what the pose is for the dress. I love pictures. Rehearsal. Oh my God. Of course.
- [17:20]
B
That's amazing.
- [17:21]
C
The decisions are done, are made. We're ready before the day begins.
- [17:26]
B
How much do you inform hair and makeup with Renata?
- [17:29]
C
We have like a joke. She's like, today all the questions go to Carla.
- [17:36]
B
You gotta know who you're dealing with.
- [17:37]
C
You gotta have a captain.
- [17:38]
B
Yep.
- [17:40]
D
This episode is brought to you by ebay. Hi everyone, I'm Nikki, one of who what wears Fashion editors. I hope you're enjoying this episode about all things award season fashion. The start of a new year is all about who's wearing whom. So I can't wait to see who celebrities choose for the upcoming red carpets. The new year is also my cue for a big closet clean out. It's a great way to declutter, clear my mind and refresh my wardrobe. What used to feel like a chore, something my mom made me do, has become something I love and find almost meditative as I've gotten older. And honestly, I have ebay to thank for that shift. For those unfamiliar, ebay is one of the largest marketplaces. It's where people like me buy and sell rare and pre loved fashion pieces. Over the years, I've sold a variety of items from classic Levi's jeans and Ralph Lauren sweaters to more significant pieces like a the robe bag and even my grandmother's stunning fur coat. With her permission of of course. I've experimented with selling my closet on other sites so I feel qualified to speak on this. But I always come back to ebay. Ebay makes the listing process easy, transforming your photos into high quality listings in just a few simple steps. After that, all you have to do is watch your listing sell and then on the same site replenish your closet with unique classic pieces you'll truly love for seasons, if you relate to the my former self holding onto designer bags and vintage heels others would love, but that you haven't worn in months. Not because of hoarding, but because of the hassle of finding a reliable marketplace, taking photos, uploading, and entering details. Trust me when I say ebay is a dependable, easy to use platform for selling. Start with a single item, and you'll quickly get hooked.
- [19:27]
B
Can we talk about Tessa Thompson? Most recently at the Golden Globes, where custom Balenciaga, which was created by Pierpaolo, who I know you have been such a fan of his and worked with him so closely when he was at Valentino. This dear friend won a lot of heart for me. I mean, I was just beside myself. I love a weird green. Yeah, it's like Goldie Green, but it sort of reminds me of it, had.
- [19:51]
C
A lot of, like, yellow undertones. It was so incredible. She wore one of his first dresses at the Academy gala, the little yellow strapless with all the, like, little daisies on it. And I said to Pierre Paula, because Tessa and I just started working, had started working together, even though we'd known each other for years. So it was quite a thrill. I was like, you know, I would really love it if you would give me one of the new. The new looks. I want you to meet her, and I just know you'll love each other. And he was like, yeah, I trust you. Go for it. Because, you know, when you ask pr, Some of the PR people are like, here's this dress. And I'm like, that's not the dress I want. So, again, it's the relentlessness. But, you know, I try to do it in a very nice way, but fingers crossed. I was like, I really think she's gonna get a Globe nomination. And will you guys make her a dress? But this dress came together really kind of last. Not last minute, but, like, quickly. Quickly. You know, the sketches came in, and Tessa, I love you. She's slow to decisions sometimes, whereas, like, I like.
- [20:48]
B
So it's like she's a deliberator.
- [20:49]
C
A deliberator where? You know me, Virgo. Like, I'm like, this is it. But I had a call, a FaceTime with him, Gabrielli, who heads the studio, and Pierpaolo, and he had just gone to Dubai with her or to the Fashion Trust Arabia. And he's like, you know what I like about her? She's so beautiful, but she's a little bit. And maybe this was, like, his Italian, like, weird. Yeah, you nailed her. Like, she's such an interesting, like, cat.
- [21:18]
B
But not cookie cutter.
- [21:20]
C
No. And he just totally got the essence of her. And he was like, carla, this is the dress I'm gonna make. Because we hadn't come up with the decision or the color. And he's like, and this is the color. And you're talking to the colorist of the world. Like, there is no one who. He's the master. And I was like, okay, but there were other, you know, dresses on the table. And he's like, you're gonna love it. You're gonna be obsessed. It's like snakeskin. And every single one of those little things are all lined with metal. Little, tiny metal beads. She had other opportunities and dresses. And we had, like, a couple beautiful dresses. And then the Friday night, it finally arrived, and we zipped it up, and then we were done, and I knew that was it. And it's funny because it's like, I don't really source a lot of outside opinions, but I'll always show my husband and, of course, the team. And Matthew was like, that's. He gasped.
- [22:14]
B
So, you guys, as you mentioned, you haven't worked together for that long in the grand scheme of things. How do you develop shorthand quickly with someone? What is that process, like, of course, of realizing, like, okay, we. We get this.
- [22:25]
C
Is this a Virgo quality that we just need to know right away, like, that we get it. You know what I mean? Like, I think Tess and I have known each other and, like, kind of fangirled on. I mean, I'm just such a fan of hers, and we liked each other right away, and just our first conversation was really nice and long and just rattled off ideas and little trains of thought. So I'm sure there's, like, there is a getting to know you period, but I know pretty quick how I can work with someone or if I can't.
- [22:53]
B
Well, especially, like, you're a pro. You've been doing this.
- [22:55]
C
Yeah.
- [22:56]
B
That is one of the benefits of experience.
- [22:58]
C
Right? For sure. And I also think one of the benefits now in my career that I'm really fortunate to have is that I can decide when it's not working. Whereas, like, when I started or even a few years ago, I would adapt to someone else's style. And, of course, there's adaptation. Of course, it's not a dictatorship here.
- [23:17]
B
No.
- [23:17]
C
As much as I'd love it to.
- [23:18]
B
Be.
- [23:21]
C
Me and the president, you find ways that, you know, where it's a pleasure. Like, I really want work and need work to be a pleasure. And so, you know, when you're flowing with someone.
- [23:35]
B
Wait, speaking of a little bit, what you just mentioned. Talk to me about Tessa's bag for the Golden Globes.
- [23:41]
C
Yeah.
- [23:41]
B
I thought that was so Lovely. I think there was one shot where it was like the Bulgari was a watcher bracelet. Serpenti.
- [23:50]
C
Yeah. Two of them stacked.
- [23:51]
B
Yeah, two of them stacked. And then her bag. And then you had two pins on the bag.
- [23:55]
C
Yep. Ice out. Be good.
- [23:57]
B
One of the things that I've always loved about you and the way that you present in this world and the way that you show up on social media and the way that you show up in life is your commitment to activism. How did that moment come together?
- [24:08]
C
Really easy, you know? You know, our friend Elsa Collins was helping spearhead it. I had three girls going, you know, so I got three sets of them. Renata. No. Because she's not from here. Even though she probably would have, because she's a human being in the world. But it was more just to be ready. You know, Our job is to be ready. And it was like. I didn't talk to Tessa about it. She texted me, and she's like, have you heard about these pins? And I was like, I've got them. And she wrote back, great. And then Grace, very. In the most chic way. Grace, my longtime, wonderful assistant, she put them on the bag, and off they went.
- [24:43]
B
It was a perfect moment, I think.
- [24:45]
C
When you have someone who knows who they are and I know who I am, I'm not gonna. I mean, I have put ACLU ribbons on people who maybe didn't wanna wear em, and I don't care. Cause in some moments. But also, it was a good moment. Or where they needed a little coaxing.
- [24:59]
B
Yeah.
- [24:59]
C
Not Ruth, of course. Her whole movie was about that case. But when you know who you are, as Tessa knows how she is, that's what she was gonna do.
- [25:08]
D
Okay.
- [25:08]
B
Other beautiful moment. I want.
- [25:09]
C
I have to talk about fashion. Fun Arabia. That. How, like, Holly Golightly is that.
- [25:14]
B
I mean, the color is everything. The shoe is just weird enough. Like, I love the glove.
- [25:21]
C
Like, how.
- [25:21]
B
How did this come together?
- [25:23]
C
It was me introducing the two of them.
- [25:25]
B
And does she feel. Was she just like. Yes. All in.
- [25:29]
C
Yeah.
- [25:30]
B
That's nice.
- [25:30]
C
Yeah. But sometimes, like, even I'm surprised with, like, how people, like, respond to a look. I always know how I feel, but I don't think I have the tastes for the masses. And then, so when it, like. Because I always know my work's good.
- [25:43]
B
Yeah.
- [25:43]
C
And. But I don't always know how it won't be received. Well, those lists are kind of like. Okay.
- [25:50]
B
I just think back to, like, they're meant to sell magazines. Some of the more intellectual or directional looks might not necessarily be a part of that.
- [25:58]
C
Thanks, Mom.
- [25:59]
B
That's right. I'm just. Just, yeah. You know.
- [26:01]
C
Yeah. My mom will always be like, did you make the list? The best list? And I just say, yeah, Mom.
- [26:10]
B
So one of the things I also wanted to talk about is sort of like, your role in the crafting of the narrative for a client and how. Because I know when someone shows up on the scene or someone changes stylus or someone's having a moment, I often will look at like, okay, well, who's their agent? Who's their publicist? What stylist are they working with? What glam team are they working with? Because it shows their taste, but more importantly, it shows that these people who are extremely vetted and knowledgeable have chosen this person.
- [26:38]
C
Right.
- [26:39]
B
And that counts as much as anything. Because if someone is clever enough to surround themselves with all sorts of people, then that really often tells me, as an editor, indicative of, like, the direction of travel, we should say yes. Could you speak about any moment where you feel like you've helped that journey for someone or enjoying it?
- [26:58]
C
I think I've done it for everybody or have or got to go on that journey, but I know that I make a big impact.
- [27:04]
B
Do you remember a point earlier in your career when you realized that you were doing that? Because obviously today this is, like, you are operating at an incredible level.
- [27:16]
C
Oh, thanks.
- [27:17]
B
What was it like when you were still feeling like maybe you were earlier in your career and starting to understand your power?
- [27:23]
C
When I was starting, it was like, still the movies, movies, movies. But of course, I had girls in tv, and I had girls who weren't always sample size. And I remember really pushing hard to be like, actually, no, you should make her a dress, because she's amazing. And TV, I used to always say, TV's gonna be where it's at. Like, any business of, like, this in fashion, especially, like, there's tons of insecurities where you're like, I don't know, am I making an impact? But I do know the impact stylists have. Like, it's the same ongoing conversation, you know, the impact Rachel Zoe had, of course, Andrea Lieberman in a different way, but, like, iconic. But, like, you know, and I have good fortunate timing. When Ruth and I started working together, I had read a press release of who was going to Cannes Film Festival, and I read about that loving story, and then I see this name, Ruth Nagin, and I was like, oh, I want to know who that girl is. And just, like, also magic. I get a text from Brenna Rifkin. She's like, I'm working with this woman, Ruth Nagan. I was like, I am, yeah.
- [28:24]
B
Say less, say less.
- [28:26]
C
And I remember my agents being like, oh, we not sure. The agent at the time being like, we're not sure this is anything. And I was like, oh, I already said yes. By the way, you're three days late to this and I'm flying to Albuquerque to fit her. And it's gonna be something. Yeah.
- [28:40]
B
Talk to me a little bit about the publicist relationship because you know, we shoot covers. Publicists have feelings and thoughts about things. Sometimes they're very additive. Sometimes a little more trust would be nice. And how do you do you have to deal with your clients publicists often? Because there are lots of opinions as and it's a business. I understand why there are lots of opinions. I'm curious about how you navigate that relationship.
- [29:06]
C
I think that dynamic's changed a lot.
- [29:08]
B
Yeah.
- [29:08]
C
Yeah.
- [29:08]
B
Because you're more powerful now.
- [29:10]
C
Well, I think just in a general. As a general thing, like I remember doing a shoot 18 years ago and you'd be like real scared. And then you kind of like some things, you know, when you take your eyeball at the industry, you're like, oh, okay, I don't have to be that scared. But that said, you know, the publicists that I work with, and maybe this is nature of being a little bit of an introvert, that I have a real separate life from work. So I'm not hanging out being besties, but I do incredibly respect the publicists I work with. They work really, really hard. And I think the more you grow in this business and you kind of. And more you grow as a human being where you can have the perspective of seeing it through someone else's lens and their objectives and realizing you can all work together and what are the whys and that, hey, I'm actually. I do know how powerful we are, but I'm not the star here. And the objective is to work together. And I'm sure I'm not a lot of publicist's choice because I do gain ground in ways that some might not.
- [30:14]
B
You're so malleable.
- [30:15]
C
Yeah, I'm not malleable. I am not malleable. And I want to work the way I want to work because when I can work the way I want to work, that's when magic happens. And it's not for everybody. And that's okay.
- [30:26]
B
But it is for many, as evidenced by the fact that you have so many long term clients. Talk to me about that what makes a long term client. And like, how do you work together well and how do you continue to evolve when you've been with someone for a really long time?
- [30:42]
C
Cause I know it's still work. You gotta make sure you're giving them the very best. I can't just be giving Renata and Tessa the best. I have to give everybody the best. And so I kind of like always will tailor how I do things. Like Olivia, who's my og, is about to be the Sundance Kid. She's at Sundance Film Festival with her movie that she's directing and starring at the Invite. She's in the Iraqi film I Want yout Sex. And I was like, okay, what are we gonna do? And we talked about it and I was like, like the looks are so fun that she's gonna wear because it feels like little Robert Redford. It feels a little like. So you want that always to bring that excitement to someone. It's an interesting business. Cause I have to be in love with you to work with you. Like, I have to love you. Cause I do. Cause I'm like, I'm not gonna do this if I don't love you. It's too much work. Yeah.
- [31:34]
B
One of the other things that I think is really amazing about the way that you work. It's well known in this industry that most people start out assisting and then at some point in time they have assistance. And at some point in time those assistants move on. And there have been a wide range of, shall I say, responses by various people within the industry to how they feel about when someone from their team moves on. I love the way that you have championed Erica. Yeah. And Erica Cloud. Erica Cloud. And been so celebratory. And it's been a pleasure watching her continue to work and to take on our own clients and to do all of that. How did you get to a place where that is your approach when it comes to team members of your own, who you've cultivated and taught. Moving on. Because that's also like I go through that within the world of who, what, where, And Claire, where you're like, oh my gosh, we've done so much together and it's painful when someone leaves often, but also to have joy for them.
- [32:33]
C
I think one of my proudest achievements, besides actually of having a really sustainable business for 20 years, is that I. All my girls go and thrive. I, you know, Sienna Montesano, my little kk, she works in a different field because she's like, I don't want to be a stylist but she's off, like, running. She runs like PR for Doan now. And just like, I'm so lucky that I have got such great team members. But also, like, I have run businesses Since I was 20 years old, you know, when I.
- [33:10]
B
We can talk about that in second life, if anyone wants to hear about it. We discussed. You have.
- [33:14]
C
And I've been like, the manager or the boss, which is a big responsibility. And it's also, like, can really get your feelings hurt, you know, because, you know, you're the leader. You're the person they shit on, which is fine. But like, at the same time. Well, it is. It's true. Listen, it's. But that's.
- [33:33]
B
Everyone complains about their boss.
- [33:34]
C
Everybody complains about the boss. Just like everybody. But you know what? The key is to not do it while they're paying you. Go home and do it somewhere else. Because you're on my. You're on my clock. Yeah, but I want people like, of course there's a moment of panic when.
- [33:52]
B
You'Re like, this person knows my brain inside and out.
- [33:56]
C
But, like, I mean, I'm super. Thank. I'm nothing but thankful. And how could you. This is a business where you come in to go and be it. And I have to give people all the skills. That's the outcome. That's the outcome. And you want that outcome for them or you want them to be like, a committed assistant, which, by the way, great job. Fantastic. Like, photo assistants are making sometimes more money than, like. I mean, there's days I'm not getting paid, but everybody at my office is, you know, so it's a choice. And I think there's no. There's such amazing first assistants out there who are committed to that, but they have to have that energy where. Because I feel like sometimes in this business, too, you can get insecure about, like, I'm not. That I'm not the person who's getting the invite. It's like, yeah, well, that's when it's time for you to go put your name on the door and take on all the responsibilities, all the bad stuff, all those invoices. Yeah, I love that. I'm so. When Erica got shouted out at the Oscars by Robert Downey Jr. I'm like, get out of town. And don't you think I didn't say to, like, Sarah Paul said, so I expect you to. She's like, yes, I will.
- [35:02]
B
It's very Seth Roge in the studio. Just say my name. Just say my name. So speaking of diplomacy, in that way, how do you deal with other stylists when their clients come to you to switch? Do you have conversations? Because all of you guys know each other and all of you are friends.
- [35:18]
C
Yeah.
- [35:18]
B
Do you address it head on? Is it something where you're just like, we're not going talk about this. We're just gonna, like, move forward? Everyone has their own choices. How do you feel about that?
- [35:27]
C
It depends. And I think the key is to, like, you know, obviously, I like, if I know the person well, it's that conversation. It's that. It is. It's just that little note being like, hey, like, I will never start working with someone if they haven't had their conversation with the person. It doesn't have to be that deep. Right. Where it's like. But I do think people are like, well, I couldn't do it, and that's why they're moving on. It's like, you just say less. You don't have. You don't. You know. If I was, like, a person hiring a stylist, I wouldn't be against mixing it up.
- [35:57]
B
It's you putting yourself into someone else's shoes, which is what you do with publicists, which is what you do with agents. So it's like, really understanding the 360. It's putting yourself in the client's shoes.
- [36:05]
D
Yeah.
- [36:06]
C
As long as it's done classy. You know, I think, like, don't burn the bridge. Don't burn a bridge. I mean, it's like, you know, you've been in situations where it hasn't being done nicely, and I'm like, well, shame on you.
- [36:19]
B
Oscars are upon us.
- [36:21]
C
They certainly are.
- [36:22]
B
I know you can't tell me all of your secrets or maybe any of your secrets, but what are you thinking about?
- [36:28]
C
Well, here's the dress, everybody.
- [36:33]
B
You've been thinking about this for a while. Yeah. How much are you considering? What is the direction you're considering? What can you tell me? That doesn't tell me anything, but tells me something.
- [36:40]
C
Well, I have two directions. Okay. I actually thought I already had the dress kind of done in my mind as a sketch. I'm always looking for, like, the thunderbolt, like, the idea. And that's how I kind of approach every bit of styling. It's like I always say, I'm conjuring a muse. And I was just driving the other day, and I was like, I had an idea, actually can. Of how I wanted her to look at the end, and then I just veered away from it. And then I Was like, no, no, no. Fuck it. I'm right. So that's what we're gonna do.
- [37:10]
B
But I love two things. One, shower and driving. Best places to come with ideas.
- [37:15]
C
Right. Sometimes I come up with my best ideas, actually, at, like, a music show.
- [37:18]
B
Cause it's like, you have to be present.
- [37:20]
C
Yeah. But you're feeling. You're like, oh, wait a minute.
- [37:23]
B
And also. But then again, that speaks to. You had that initial thought, like, this has been a plan this whole way through variations of when something shows up.
- [37:32]
C
Yeah. It's funny because I had to do something, and it was about the fates, like, atropa or whatever. And it was like, you're either dragged or you lead. I'm not gonna be dragged.
- [37:43]
B
That's not a no.
- [37:44]
C
Because it's like, also, like, I'm really open to a little bit of magic, some intervention. That Calvin Klein dress was a little magical intervention. And it was like. Yep.
- [37:54]
B
We focused on a lot of high moments. Mm. That's not the full picture. Always, never are there any moments that you look back on, you're like, I don't know how I feel about that. Maybe that slightly missed the mark.
- [38:07]
D
Or.
- [38:08]
B
And I don't need, like, a specific example of that. Or like, you didn't trust your gut and X happened. I'm curious about. And I know at this point, that's not happening. You have so much experience under your belt.
- [38:21]
C
Like, oh, yeah. But it can happen. It can happen to the best of us, you know, where you're just like, ugh.
- [38:25]
B
What has been a moment where you were like, oh, whoops, not again. Like, you don't have to.
- [38:29]
C
Well, I'm not gonna name names or dresses or designers, but there was one dress that was so bad, and it was just like, I should have. And I thought in the moment, if I just spilt this red glass of wine that's in my hand, if I felt a way to, like, trip right now, then we could put the backup dress on.
- [38:51]
B
And why, like, what was wrong?
- [38:53]
C
It was just, like, it was made. It just came with too much fabric, and it was the wrong type of fabric. And I, like, lamented, like, I really suffered. Thanks for bringing this up, Hillary.
- [39:05]
B
We couldn't just talk about the good stuff. That's not.
- [39:07]
C
Yeah. No, no, no. Because it's not always just good stuff. Yeah.
- [39:10]
B
And this is useful for folks, like, if even Carla Welch can have these moments.
- [39:14]
C
Yeah.
- [39:15]
B
Carla, it was such a pleasure.
- [39:17]
C
This was so fun.
- [39:18]
B
I love talking to you.
- [39:20]
C
Always. I love talking to you personally and professionally.
- [39:23]
B
Thank you so much for making the time for us today.
- [39:25]
C
Thank you for having me. Congratulations on the podcast.
- [39:28]
D
Thank you.
- [39:29]
C
The video cast. What are you calling a video podcast?
- [39:32]
B
Video podcast.
- [39:32]
C
Oh, there we go.
- [39:40]
A
A huge thank you to celebrity stylist Carla Welch. 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. 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 who what Where. See you next Wednesday on the who what Where Podcast. This episode was produced by Hilary Kerr, Summer Hammeris and Natalie Thurman. Our production assistant is Raven Yamamoto. Our audio engineers are at Glen Canyon Audio, and our music is by Jonathan Leah.