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The Who What Wear Podcast
Demi Moore's Stylist Brad Goreski on His Whirlwind Year of Expertly Executed Red Carpet Looks
00:38:36
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- [00:00]
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- [00:45]
Hilary Kerr
Welcome to the who what Where? Podcast, your direct line to the designers, stylists, beauty experts, editors and tastemakers who are shaping the ever evolving world of fashion. Hi, I'm who what Wears? Co founder and Chief Content Officer Hilary Kerr. And today I have the distinct pleasure and honor of chatting with one of my favorite stylists and people, Brad Goreski. Brad is the longtime stylist of the legendary Demi Moore, and in their over 15 years together, he has created countless.
- [01:22]
Brad Goreski
Stunning looks for her.
- [01:24]
Hilary Kerr
But over the last year, as she promoted her film the Substance, Brad and Demi took things to a whole new level. From the Cannes Film Festival last May all the way through to the Oscars just last month, Brad curated a fleet of looks that pushed boundaries and reflected the themes of the film while still evoking old Hollywood glamour. He joins me today to discuss the strategy behind this year long press and awards run, his methodology for sourcing specific pieces, and the true magic of a perfect collaboration. It's all coming up on who, what Where?
- [02:12]
Demi Moore
Brad, hi.
- [02:13]
Brad Goreski
Are you ready?
- [02:14]
Demi Moore
I am. Let's do it.
- [02:16]
Brad Goreski
Okay. Well, thank you so much for joining me. You have had such an incredible year. I'm just so floored by your work and I can't wait for us to get into all of the looks that you put together for Ms. Moore for the Substance. But before we get into all of that, while I personally have known you for a long time, on the off chance that some of our listeners are not as well versed in the Bradiverse, tell us a little bit about how you fell in love with fashion, why you wanted to get into the styling side of things. Give us a little bit of the lore, please.
- [02:53]
Demi Moore
Well, first of all, thank you very much. I love fashion. I have ever since I was a little kid. I thanked my mom after the Golden Globes for letting me play with Barbie when I was a kid because it was kind of what started everything out for me. You know, she was my first client. She was always going to an event. I liked her Mostly in evening clothes. I had one Barbie, crystal Barbie that I just was obsessed with. You know, fashion's always been a part of my life. And my husband Gary, when I was in college, I wanted to be a fashion journalist. And I would bring him, like, Vogue, and I would be like, oh, my God, look at this shoot. And look at the clothes. Look at the models, the imagination that goes into this. And he's like, why aren't you in fashion? Why don't you work with clothes? And I was like, huh? And so then I interned at Vogue in New York when I was in college, and. And it was an amazing experience. I finally felt like I was where I wanted to be. You know, I got to be around the greats like Grace Coddington and Camilla Nickerson, and I got to be on set with Grace, and it was amazing. It was just, like, things that I will never, ever forget. I was assisting Marina Barini. She was Alex White's assistant, but Alex was out on maternity leave, so Marina was taking care of everything, and she had me come on set with her as an intern. I learned a lot from her, and then I learned the majority of everything from Taylor Jacobs at Rachel Zoe, who actually taught me about celebrity styling. And Rachel, of course, too. But I was really in the trenches with Taylor, and she showed me the ropes because I was very green when I started.
- [04:24]
Brad Goreski
Well, everyone has to start somewhere, right? You have to learn. And at least you came to the celebrity world with some of that set etiquette under your belt from those previous internships. Even if that hadn't been the longest period of time, you understood a little bit of, like, how people work and what you're supposed to do and the way that you are meant to. To interact.
- [04:46]
Demi Moore
Yeah. Like, I remember we were doing a shoot with Craig McDean, and Craig came and sat down at my table at lunch, and I was chatting with him, and afterwards, I was pulled aside, and I was like, you do not talk to the photographer. Like, you get up and leave if he's sitting at your table. I was like, really? Like, we were just talking. So I just learned that, like, you kind of exist where you're wanted. I remember I dropped off jewelry once for Vogue at a Steven Meisel shoot, and two assistants came with those, like, V flat boards and, like, followed me everywhere I went so I couldn't see on set.
- [05:20]
Brad Goreski
Oh, wow.
- [05:23]
Demi Moore
Yeah.
- [05:23]
Brad Goreski
Isn't it so interesting, those memories that stick with us where you're like, oh. And then that happened. The industry. Some stuff has changed, some stuff has not. But it was such an interesting and unique time to be in that world.
- [05:35]
Demi Moore
I also don't look at it as, like, oh, can you believe they did that? Like, I was obsessed with it. Are you crazy? Because all I wanted to do was get on the other side of the board, so it made me work harder. Like, how do I get to be the person on the other side of the board? And so, you know, I figured that out because now I'm that person. But just getting to be there was just so great.
- [05:55]
Brad Goreski
So talk to me about when you're building sort of your stylist toolkit and you're learning what works and what doesn't work, what were some of the things that were trickiest to learn? I always assume it would be about fit, but is it actually, like, the psychology of it? What was the steepest curve or the most difficult piece to master?
- [06:14]
Demi Moore
I think it's a delicate balance of trying to keep everybody involved happy at once. It's such a cyclical relationship. Right. You have to keep all the PR people who are the gatekeepers to the clothes happy, because if you don't, then you don't get clothes for your clients. And then I feel like the thing that's really important is to be honest and to be nice, to work with on all fronts. I'm not a drama guy at all. Like, I don't thrive under a lot of stress. I feel like being upfront with people and being, like, nice is just an easier way to do this job. The biggest thing I've learned is to be honest with everybody. If something is not really a vibe, then I'm about to say that to my client. Like, I don't think this is a good idea. I don't think this is gonna translate. And fit is a really big one. I think also people have commented about what I just did with Demi is that we were so crazy about the fit of everything. Yes.
- [07:15]
Brad Goreski
It appears that there's a level of meticulousness that, to be perfectly frank, we haven't always seen across all red carpets in general. But going back to what you were saying earlier, I think it's an interesting thing for folks at home who might not know. So there's the client. There is her personal publicist, hair and makeup, the fashion pr. So the people at the brands responsible for those pieces, the agent who handles contracts, the fine jewelry piece of it, the assistant, and the 9 million other people weighing in. So that's a lot of people who have input or influence or an agenda to some extent. How do you handle all of that.
- [07:57]
Demi Moore
I don't mind the collaboration. I mean, we had so many group chats going over the awards season. But I think also I been working with most of my clients for a really long time. So Demi has been since, like, 2008.
- [08:11]
Brad Goreski
She was one of your earlier clients, right?
- [08:14]
Demi Moore
Very early, yeah. And I've been working with Rashida Jones for the majority of my career. Probably like 13, 14 years. Kaylee. A long time as well. So I don't know. The trust is there. I think sometimes when you're working with a lot of newer people, then there are a lot of cooks in the kitchen, but I don't really have a lot of that at the moment. I mean, there was a lot of back and forth because it was such a big campaign, but I think we were, like, on a pretty good run. So people were like, do your thing. But, you know, for the big award shows, there were definitely opinions wanted and people to chime in because we did so many looks back to back that it was really helpful to have outside eyes go, this feels like a winner to me. Between two or three different things, I will tell you, one person who was heavily involved was my husband, Gary.
- [09:04]
Brad Goreski
Really?
- [09:05]
Demi Moore
Yeah. He wanted to see, like, every. Every sketch that came in, every single fabric swatch, every fitting photo. He weighed in on absolutely everything.
- [09:15]
Brad Goreski
Are you guys in sync in your opinions?
- [09:17]
Demi Moore
Usually he's very blunt, so he would be like, don't even try that. Don't even bother.
- [09:22]
Brad Goreski
Like, okay, you know, what's his ratio of being right?
- [09:25]
Demi Moore
Very high. Very high.
- [09:27]
Brad Goreski
That's annoying.
- [09:31]
Demi Moore
It is a little, by the way, but it's also very beneficial.
- [09:34]
Brad Goreski
Yeah, Yeah, I know that feeling well. So going back to me. So you guys have four together for quite some time. It's been nearly 15 years. Obviously, I would imagine they're shorthand, but people's tastes evolve. Their comfort level in trying different things changes over time based on what's going on in their life and the project and all of that. So how has your work evolved over these years?
- [09:58]
Demi Moore
I think a lot. Like, I've dressed her for everything from red carpets to vacations to personal shopping to all kinds of things. So I've had the opportunity to exist in her world in many different ways. Not just kind of a red carpet, celebrity focused way. I know what works on her body and I know what she usually gravitates towards. But I also think there's a very good level of trust there now where when I bring something new, she's willing to explore whether or not it works. She loves fashion so much that it was just, where can we go next? You know, she wants to see what the new thing is or what the new creative director at so and so is doing. And I think what was really great about this past press tour was we worked within a very loose story of what we were going to be working with and how we were going to work the movie into the clothing and into what her appearance is without it being too gimmicky. Because obviously, when you're dealing with something that's hyper visual and part of the phantasmagoria category, you want to also reflect that in a way that's very fashion forward and tasteful and is still connecting to the person that's wearing it.
- [11:16]
Brad Goreski
It felt like such an intellectual interpretation of what dressing for the red carpet in support of a project could be. And I loved it, like, the way that there are, like, fan theories on TikTok for severance and for the White Lotus. I felt like I was doing that with red carpet, where I'm like, where's the reference? And this is the thing, and we have to get into some of those things. So the Substance premiered at Cannes last spring, and I read that you had not seen the film beforehand. So what did you know? And how did you prepare for these thoughtful, subtle, insightful nods to the film and to her character when you hadn't seen it yet?
- [12:02]
Demi Moore
It's funny now that you say that, I'm like, how did that come out? Because I hadn't, like you said, seen the movie. Demi had sent me some photos, BTS and, like, her and the makeup. But she told me before, this is what it's about. This is what happens. I would kind of like to reflect it in my dressing. And I was like, okay. We had just come off a feud, and we did, like, some subtle method dressing there. Like, we took the black and white theme and, like, incorporated into her press looks. And then for the premiere, she was the swan. Balmain had an amazing dress, and Demi took the chance, and I was like, ooh, this is fun. Let's keep this kind of crazy stuff going. So when I was pulling for her, I was thinking, what dresses or gowns would I like to see her in? And I'd always wanted to get her into Armani Prive because the fit, how those clothes are made, just how elegant and luxurious they are. They just look so expensive. And then Schiaparelli, we've worked with them a ton, and Daniel loves Demi. And when they told me that they had that dress with the blade I automatically thought, oh, Demi told me there's some needles in the movie. But then I was like, is she gonna want to be in a corset and then sit through the movie with this thing on her? And how are we gonna get her in and out of the hotel and into cars? And, like, the logistics of dresses. Like, we had to get Demi from one hotel in a car to another hotel to meet up with the car caravan to take us to the mirror and then, like, get her out of the car without flicking the blade. We had to send out, like, a little notice to everybody that she had this thing sticking out dress. But all of those things came together. And then the Balenciaga gown with the little hip distortion, I'd seen that on the Runway. I was like, oh, I love this gown so much. Like, if I can get it, I have to place it on her somewhere, just because it's a showstopper. And then once we got to Cannes and Chopard was doing all of her jewelry, we arrived and we sat down in this, like, big jewelry suite, and they just brought. Brought out tray after tray. I mean, it was like, vaults. Open vaults, honey. I mean, like, crazy access to this, like, amazing jewelry. And Demi loves jewelry. So we just sat there and played. I'd seen that tourmaline necklace during that preview, and I was like, how do we make this just a little bit more glamorous? So I got all inspired, and I took the dress to the Chopard showroom, and I was like, can I see the tourmaline necklace? And they were like, yeah. And so I put it together. I was like, yes, it matches. And I, like, ran back to Demi's room. I was like, I got it. I'm like, you're gonna wear this necklace with it. And she's like, let's do it. And, like, the initial fitting, it was us going back and forth between, like, how I was picturing her in this moment and then also her giving me, like, oh, this would work because of this. That happens in the movie. And I'm telling you all the way through, from Cannes to the Oscars, it was a full on collaboration.
- [14:52]
Brad Goreski
That's amazing.
- [14:53]
Demi Moore
Discussions, FaceTimes. She's very involved and in the best possible way. Like the best fashion partner in crime a person could have.
- [15:02]
Brad Goreski
Okay, so after you actually saw the movie, did that change the way that you thought about the road to come? The reception was immaculate. I assumed you probably had enough of a spidey sense to say, like, this thing has legs, no pun intended. But when you actually saw the film, was it just a ton of ideas that came, or did you think, like, oh, this is actually all sort of in alignment with what I already sort of knew?
- [15:28]
Demi Moore
Yeah, I was actually surprised. I was sitting directly behind Demi at the premiere, and she kept on turning around to look at me, like, laughing at me, because I couldn't believe what I was watching. I was actually so inspired because the film is so incredibly visual that there is a lot to draw from. And so I was like, if this continues and we continue to do more, we have a really good opportunity here to have a lot of fun. We played with body adjustments. We played with a lot of corseting, and, like, how the silhouette of the body was either transformed or changed. We added in reds for the blood. And the funny thing was, I didn't even know the yellow coat was, like, a thing, but we had this, like, yellow Oscar de la Renta dress for her to wear to the Chopard dinner. And I was like, oh, wow. We're like. We're, like, pretty aligned here. So then when, you know, obviously, the movie gained a little bit of traction and premiere dates were set and more film festivals, Demi and I sat down and talked about, like, how we were gonna move forward. And I was so overwhelmed and moved by the response at Cannes. Like, I just wanted her to look amazing, you know, it was a big moment for her. She hadn't been to Cannes in a really long time. I really just wanted to do a good job for her, to be honest. I just wanted her to be happy. And so I put everything I had into it. And then for her to have me there was great because I was able to make adjustments. And as people were seeing her on the carpet, like, designers were all texting me, like, do I want to see this gown? That gown?
- [17:01]
Brad Goreski
Oh, they started courting you immediately.
- [17:04]
Demi Moore
Oh, yeah. Oh, yeah. I mean, immediately.
- [17:07]
Brad Goreski
That's a good early indicator of something.
- [17:09]
Demi Moore
I mean, it was fast. I was like, oh, this is how it works.
- [17:13]
Brad Goreski
Oh, so you are available.
- [17:14]
Demi Moore
This is where all the really good dresses come from. Oh, I'm 15 years into this, and I'm just discovering new level unlocked. Yeah, it was fun.
- [17:23]
Brad Goreski
So knowing that the floodgates were open in the best possible way, at what point did you start thinking through strategy of, we're gonna have this moment, we'll have this moment. And I have to ask, like, obviously, there were the Armani prive, beautiful clothes, great moment. But at what point, too, did you realize, like, this is gonna be a big moment for awards season with this brand?
- [17:45]
Demi Moore
I Actually didn't know. I didn't know.
- [17:48]
Brad Goreski
They just won. They just brought their A game.
- [17:51]
Demi Moore
Listen, I allowed have a chance, and I was transparent with everybody and said, I'm saying yes, and people are presenting, and if you want to make in good faith, then great. Like, if you need 100% confirmation, I can't do that because I won't know until it goes on the body.
- [18:09]
Brad Goreski
So we're talking about if designers wanted to custom make something and send it for consideration.
- [18:15]
Demi Moore
That's right. I was like, if you want to go through the work, we're very happy to try it, but we're not doing, like, 100% confirmations for anything. I went to Armani. I think it was November, and when the nominations came out, they were like, what do you want? And I was like, I want full movie star glamour. I don't know how many more award shows we'll have after this, but I want, like, a big movie star moment.
- [18:41]
Brad Goreski
If nothing else happens, we want to make sure that this one was like it. And we're talking about the Golden Globes for that.
- [18:47]
Demi Moore
Yeah, they just delivered. We put it on. I was like. I think I started crying. I'm, like, super emotional and fitting.
- [18:53]
Brad Goreski
I'm so surprised. So I just want to give some context around this for our audience. So it was custom Armani prive for the Golden Globes. It was her first time going to that ceremony since 1997, and it was her first lead actress win of the season and also of her career. So this is a major moment. Tell me a little bit more about the story of that coming to life. So obviously, they knocked it out of the ballpark, but how did the whole whole look come together?
- [19:27]
Demi Moore
So I had been obsessed with that fabric that they made her gown, and I think it's a combination of, like, metal and silk. You know, it's obviously a staple of Armani prive. It's one of my favorite. I just love the way it moves. I love the shimmer of it. I love that it looked watery and fluid, but I wanted it in, like, a pretty deep gold.
- [19:48]
Brad Goreski
Why that color?
- [19:49]
Demi Moore
Because I just felt like she was just so golden. It was just the way that I was seeing her. We did, like, a swatch test on her. And Malin, who constructed both of Demi's gowns, who's amazing, worked all through Christmas holiday to make it happen. And we just put it on, and I was like, oh, my God. This is like it. It was. It also the story of the dress being off balance. I didn't Want to do just like another strapless dress. And one of the big things in the substance is respecting the balance. And the balance was off. And then the middle of the gown was like, Elizabeth sparkle, like, coming through. And the two sides represented sue and Elizabeth. So that was the story there.
- [20:32]
Brad Goreski
It's so good. It's so good.
- [20:35]
Demi Moore
But then when she won, which I was hoping she would, but I wasn't like 100% expecting that she would. None of us were. It was Jessica Pastor said to me, who's an icon, by the way. She said to me about the Oscars dress. She's like, pick a dress that if she wins, she will want to look at in 10 years from now and still like the dress. And I felt that way about the Golden Globes. I was like, every award show, will she want to look back at this dress and be like, I'm so glad I WORE that in 10 years.
- [21:04]
Brad Goreski
That's a good test to ask of yourself. Okay, I want to talk about the Critics Choice Awards, which I feel was so dreamy in a lot of ways because it really got the conversation going. It was the navy Schiaparelli with the exaggerated hip, that lace up corset back, the hand cut ribbons all the way down.
- [21:23]
Hilary Kerr
She wore her hair up for the.
- [21:25]
Brad Goreski
Look, which is unusual. Schiaparelli custom made the shoes. From a fashion point of view, it was so interesting and delightful to look at. How did that look come together?
- [21:37]
Demi Moore
So we traveled a lot back and forth between London and Paris, and I would always use it as an opportunity to go in and see the designers or try things on in the showrooms. And so I made an appointment to go and see Schiaparelli because there was a gown I wanted to try on her, and she loves the whole thing. So she was always down. I'll be like, we're landing and then going to Schiaparelli. Are you fine with that? She'd be like, sure. So we went to Schiaparelli and we were trying on one couture gown that didn't work. And then I was like, what about the navy blue ribbon dress? And is it here? And they're like, yeah, it is. So we put it on and you could just see in the fitting photos, she loved it. They did so much work on that dress to make it proportionally for her. All of the ribbons were redone. They redid the cuff. It was a very extensive, meticulous alteration that was done in Paris. And then it came here. And Laura Bashi, who's like a very well Known tailor in la, in the celeb world. Also took in the corset, took in the back of the skirt. It was a pretty extensive process with that dress, but we thought for the critics choice, it would make sense because anything kind of goes. And we wanted to counterbalance what we had just done. That was so pretty and kind of princessy at the Golden Globes. And the back of that gown was a reference to one of the images that was on posters of Demi lying on the floor with her spine sewn up.
- [23:08]
Brad Goreski
Yep.
- [23:09]
Demi Moore
It's funny because I think it was that dress that the Internet started going, like, hold on a second. Wait a second here. They've been doing something all this time.
- [23:18]
Brad Goreski
Yes.
- [23:19]
Demi Moore
Which was kind of amazing because then people started putting the pieces together.
- [23:22]
Brad Goreski
Talk to me about the hair up. How did you come to that decision?
- [23:26]
Demi Moore
That was a very easy, natural decision because we wanted to show off the back of the dress, and we just wanted to show off, like, there were so many interesting lines in the neckline and in the back, too, that we didn't want the hair down to distract from the overall shape over the whole body. And then Tiffany had these great sapphire earrings, and she was just, like, feeling it. And then she asked me to go with her to be, like, the ribbon manager, too.
- [23:53]
Brad Goreski
How was that?
- [23:55]
Demi Moore
Before her award, I said to her, I was like, if you win, do you want me to help you up the stairs? And she was like, yeah, that would be great. And I was like, okay, do you want me to go up the stairs with you? Do you want me to stand beside the stairs? And she's like, let's just feel it in the moment if it happens. I was like, fine. So they called her name. I was like, we didn't rehearse. Yeah, exactly. I was like, I'm just going to follow her lead. So we're walking up the stairs, and I, like, squeezed her hand, and I was like, you good? Before we got to the top stairs. And she's like, I'm caught. And I was like. And I looked down and, like, her heel was in one of the ribbons, and I just quickly removed it, and she walked over. I'm glad that went smoothly. But, yeah, I was glad I was there for that.
- [24:39]
Brad Goreski
Fair enough. All that work. Don't want a traffic situation there.
- [24:43]
Demi Moore
Definitely not.
- [24:43]
Brad Goreski
And then I want to talk about the final look at the Oscars. I love that you left the dance with the girl that you came with. In that case, Armani Prive. So again, we're talking custom silver, crystal covered gown. That took 1600 hours and 18 embroiderers to make, which is mind blowing, to put it mildly. How did you come to that dress? What was the process like, collaborating on it? I can't even imagine how many fittings that must have taken as well.
- [25:18]
Demi Moore
I went to them a little bit late, to be honest. I went to Armani. Cause I was like, she did it for the Globes. So we went to their show, and I was, like, blown away. Went to the prive show in Paris, and I met with their head of design the morning after the show and went through the collection again and kind of pulled out what I was seeing as silhouettes, colors that I thought would work for her. And they did an initial sketch while we were there, which was pretty similar to what we ended up wearing. But I went back to them. It's like, I want this neckline because I didn't want to do strapless again. I wanted it to be, like, sexy, but still super glamorous for the Oscars. But I wanted it to be, like, a little sexy.
- [26:02]
Brad Goreski
And good for 10 years from now.
- [26:03]
Demi Moore
Exactly. And good for 10 years from now. And they were amazing. I told them, I'm seeing silver. Like, I think I want it to be the last time that Elizabeth gets to sparkle. It's her, like, final shimmer platinum. And they sent me this beading. They sent a swatch of it, and I was just like, oh, my God, this is gonna be insane. But we didn't see the dress until the Wednesday before the Oscars.
- [26:28]
Brad Goreski
Oh, no.
- [26:29]
Demi Moore
Yeah. Because the show was end of January, and then the Oscars were early March. And by the time that we decided on a sketch and the swatch, it was, like, maybe two and a half weeks for them to do the gown. Wow. So we saw it the Wednesday before, and then there were three refits of it. And then we decided Sunday morning of the Oscars that it was going to be the gown that she was going to wear.
- [26:51]
Brad Goreski
So you were not decided until right up to that moment?
- [26:56]
Demi Moore
No. Like, morning of, I said to the two people that were in contention that it was literally 50. 50.
- [27:04]
Brad Goreski
Is that difficult to manage?
- [27:07]
Demi Moore
They're not phone calls you want to make.
- [27:09]
Brad Goreski
Right.
- [27:09]
Demi Moore
It's just not great to have to call. And it's like you're breaking up with somebody.
- [27:13]
Brad Goreski
Yeah.
- [27:13]
Demi Moore
But it's part of the job. And so I try to do it in a way that's as nice as.
- [27:19]
Brad Goreski
Possible, because I saw you just a couple days before, I felt like you had a feeling. Did you have a feeling?
- [27:26]
Demi Moore
I Did actually have a feeling, and I thought it might be the other dress.
- [27:29]
Brad Goreski
Oh, well, it just goes to show, like, how in real time, these decisions are made and everyone has a different process. But that is wild that it was so close, so interesting.
- [27:44]
Demi Moore
Yeah, it was very, very close. Like, I had both sets of jewelry there. Wow. But it was exciting. Like, when I saw her walk onto the carpet and I saw that gown under, like, proper lighting and on her, I was just like, wow, this is magic. It just felt like a dream. And it was my friend Shiona Turini who does Beyonce. Oh, yeah. You know Shiona, of course. She FaceTimed me, and she was like, you ate that. I was like, okay, we did it. We did it.
- [28:15]
Brad Goreski
If Shiona calls you, you definitely did something right.
- [28:19]
Demi Moore
It was very sweet. Yeah.
- [28:21]
Brad Goreski
That's amazing. So we can't talk about every single look, but I'm curious about, like, when you look back at everything that you did over the course of this awards season, do you have personal favorites that we haven't discussed or, like, moments where you're like, my secret heart loves that look.
- [28:37]
Demi Moore
It's so funny. I was going through my Instagram the other day, and there were so many looks that I'd forgotten about. I was like, we did so much stuff.
- [28:45]
Brad Goreski
So much.
- [28:45]
Demi Moore
Like, a lot of fittings, you know, one that I really, really loved was the Bottega Veneta. I just loved how different it was. I love how beautifully made it was. Black leather with drop waist, pleated. We loved Mathieu, and they made that dress actually in red and in black for us to choose from, and we obviously ended up going with the black. But for me, that gown was like a reset where I think people felt like they had an idea of, like, what we were going to be doing. And I was like, no, no, no, no, no, no, no.
- [29:19]
Brad Goreski
Keep you on your toes. Keep you cussing.
- [29:21]
Demi Moore
It was so beautifully made, that leather and the way that they made that whole corset, that was like, 27 yards of pleated fabric around the bottom. Yeah, it was really incredible. But getting to have this access and be able to work with designers, it was so much work. But it was all of this magic. And that was a big thing for Demi too. She wanted to wear things that had, like, an artful edge to them. Maybe it will happen again, but it's like, I think there's a once in a lifetime opportunity. And, you know, it's nice when you feel like you meet the moment. And I feel like I don't have anything that we did That I was like, oh, that was half ass.
- [30:03]
Brad Goreski
It was whole ass.
- [30:05]
Demi Moore
It was whole ass. It was dump truck. It was, like full on gadonka dunk. Like, it was like. Like big old ass brought there. I do have to say that my assistant Clark, who assisted me through this whole thing, was like an absolute dream. Behind every really good stylist is, like, a really good assistant. And Clark just crushed this season. I mean, enthusiasm. Everything was a yes. Just. It was incredible. I'm so lucky. And I said to her when I hired her, I was like, if you come to work for me, this is gonna be, like, probably the most important part of my career, and I want you to be with me on it. And, like, at the end of this, I was like, I told you, like, this was a really good time. This is a good time to come on board, friend.
- [30:53]
Brad Goreski
Well, first of all, Clark has the best name ever. My kid's name.
- [30:57]
Hilary Kerr
Aw.
- [30:58]
Brad Goreski
So I'm partial anyway. Also, I have to ask you about this just because. But for me, one of the moments that I just was. It was heart stopping in the best possible way. With the McQueen dress for the Baftas, that, again, felt like art, and that felt like something we had not seen before. It felt appropriate and thoughtful for the occasion. And, like, intellectually, that was a big moment for me and emotionally as well.
- [31:25]
Demi Moore
I'm glad you received that, because they were an absolute dream to work with. So we had a full other type of embroidery that gown was going to be made in, that switched after the Golden Globes because we felt like there were kind of people wearing not things that looked similar, but it just didn't feel as unique anymore. And so they came back with this beating, and I was like, are you kidding me? You want to do this in, like, four weeks? And I just kept on saying to their amazing PR person, Annabelle, are you certain this will make it for the BAFTAs? Are you sure? Like, is it coming? And she's like, I guarantee you, you will have the gown by the baftas. And I was like, great. And so we did. I think one fitting in London, to me was like, this is so crazy. Like, they made full size paper layouts. It was basically like a human paper doll. So there was the toile underneath. And then they made a life size paper cutout to go over the toile so we could see where the beading would be on the body if we wanted to make any adjustments. And they made miniatures of the gown, too. Little paper dolls.
- [32:35]
Brad Goreski
Please tell me that someone has those framed. That is outrageous.
- [32:39]
Demi Moore
Demi has the mini paper dolls and then the big ones. I don't know where those ended up. We have photos of her in them, but this is next level.
- [32:46]
Brad Goreski
Let's take that to a museum, please.
- [32:48]
Demi Moore
It was incredible. And then the way the gown turned out was just so special, and Shawn was so wonderful, and everybody that we worked with was just wonderful and great, but it was pretty exceptional that they were able to turn that gown around in that amount of time, because all of those panels, they sent me pictures. It was basically putting a puzzle of a dress together. It was wild.
- [33:10]
Brad Goreski
So outside of the looks themselves and the ribbon moment, what are some of the moments from the past year that you're going to carry forward with you? Like, in 30 years from now, when I interview you again about the retrospective of all of the things, whatever it is, what are the key moments that you're gonna think back on from this year specifically?
- [33:32]
Demi Moore
People are gonna think this is cheesy, but it's getting to be with Demi. I traveled everywhere with her. We took every single flight together. It was a very special time to get to be with a person that has been in your life for a long time. And then the trust that she put in me, I'll never forget that. She just let me, like, let all the wild things I had in my head just come out to me. The most amazing thing is that people got to see the person that I know. I mean, we've had so many nights of deep conversations, and we've, like, danced in hotel rooms, and we've just had the best time. I'm so grateful that she brought me along for the whole ride and that I got to be a support to a person that I really care about. There's also one more moment that I don't know if I've ever told her this, but we were pulling up to her premiere at Cannes, and she was in the Schiaparelli, and it reminded me of when I was a kid and I would watch the Oscars and watch people, like, walk onto the red carpet. But this time, I was behind that fold thingy, and we were chit chatting as the car was pulling up. And then the car stopped. She opened up the door and walked out. And I, like, watched her walk out and transform into that thing, right? I was like, oh, my God, it's happening before my eyes. I'm seeing the thing. And I was like, oh, my God, this is magical. I never thought I would get to experience that in my life. I was just like, wow, this is so cool.
- [35:03]
Brad Goreski
Why am I emotional?
- [35:05]
Demi Moore
I, like, texted my mom and I was like, oh, my God. I'm, like, inside the thing I was fantasizing about. It's so strange, but so amazing.
- [35:13]
Brad Goreski
Like, you're living your manifestation.
- [35:15]
Demi Moore
Yeah. My dad even said it to me when I was back home in Canada. He was like. Like, me watching you live, the thing that you talked about when you were a kid is pretty incredible.
- [35:24]
Brad Goreski
It's like, actually the dream for a parent.
- [35:27]
Demi Moore
Yeah. And also for a kid, like, playing with Barbies in the basement and then watching your client walk onto the red carpet of Cannes for their film is, like, pretty cool thing, I'll say.
- [35:39]
Brad Goreski
So my last question is really about the future. We have covered the last year. We have gotten a chance to talk a little bit about the historics. What are you looking forward to for the rest of 2025 and beyond? Do you feel like you've really processed everything that you've achieved? How do you outdo yourself from here? What are you looking forward to?
- [36:03]
Demi Moore
I love working. And I don't mean that in a way, like, trust me, I'm also, like, a very good nester. Like, I love my time of just, like, being alone and reflecting or, like, recharging or whatever it is. I just want to do more. I want to do another big tour with somebody. I love what I do so much. And it's been nice that after doing it for so long, that I feel people finally got to see what I've always wanted to show, and now I just want to continue doing that.
- [36:34]
Brad Goreski
I also think there's something so incredible to how special a moment like this is that I don't know that people can always necessarily absorb at other points in their life. But, like, you really understand. It's like the person, the project, the collaboration, and to be aware and cognizant of all of the many miraculous things that had to come together to make it, like, to have that gratitude that you have so clearly shown is really special.
- [37:02]
Demi Moore
I agree. Like, I think that there's no timing, like, God's timing. Whatever was aligning aligned for me at the perfect time where I do feel exactly like what you said. I didn't feel nervous or stressed about the moment or my work. I mean, there were obviously moments that I did, but I felt so prepared to deal with everything that came my way. And I don't know if I would have felt that way, like, five years ago.
- [37:26]
Brad Goreski
Well, everyone in the who, what, where office, I should send you shots of our slack. It is just like the Brativerse. Like, everyone was talking about the work. It was really such a pleasure to watch, the level of care and effort and thoughtfulness and it was so beautiful to see. So thank you for the work for all of us who are watching, and thank you for taking the time.
- [37:51]
Demi Moore
Well, thank you for all the support. You guys have been amazing and it was just nice to hear from somebody that I've known so long. I was like, it really touched me that people kind of went along for the ride with us.
- [38:08]
Hilary Kerr
A huge thank you to the incredible stylist Brad Gereski. 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'd rate and review us. If you have any guest suggestions or any other feedback, drop us a line at pot podcast@whowhatwear.com or you can 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 production assistant is Claire Schmidt, our editor is Ko Takasuki Chernovin. Our audio engineers are at Glen Canyon Audio and our music is by Jonathan Leahy.
- [39:11]
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