How Genesis Webb Combines Club Kid and Glam Drag Aesthetics to Create Chappell Roan's Legendary Stage Looks

Summary

The Who What Wear Podcast: In-Depth with Genesis Webb on Creating Legendary Stage Looks for Chapel Roan

Released on October 30, 2024, The Who What Wear Podcast delves into the creative minds shaping the fashion and beauty industry. In this episode, Host Cat Collings sits down with Genesis Webb, the innovative stylist and Fashion Creative Director for pop sensation Chapel Roan. Genesis shares her transformative journey, creative processes, and the artistry behind Chapel's unforgettable stage presence.

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1. Genesis Webb: From Oklahoma City to Fashion Forward

Genesis Webb's path to becoming one of the most sought-after stylists in the celebrity scene is as unconventional as her aesthetic. Growing up in Oklahoma City, a city not typically associated with high fashion, Genesis found her inspiration within the local punk and hardcore scenes.

Genesis Webb [03:04]: "As a teenager, I was so rebellious and anti-authority... I kind of just went into full-blown rebellion."

Her early exposure to countercultures in Oklahoma City instilled in her a deep appreciation for style as a form of lifestyle and self-expression. This foundation would later become pivotal in her approach to styling celebrities like Chapel Roan.

2. Transitioning from Thrift to High Fashion

Before immersing herself in the high-paced world of celebrity styling, Genesis operated a thrifted clothing business and launched a jewelry brand. These entrepreneurial ventures were not just about making a living but also about honing her eye for unique and cutting-edge pieces.

Genesis Webb [06:36]: "I was so broke in Denver... I thrived anyway in Denver's great thrift space."

The pandemic posed significant challenges, wiping out her revenue streams and forcing her to pivot drastically. Her resilience led her to seek mentorship and opportunities in styling, where her talents quickly caught the attention of industry leaders.

3. Mentorship and Breakthrough with Nicola Formichetti

A pivotal moment in Genesis's career was her collaboration with renowned stylist and creative director Nicola Formichetti. Assisting on high-profile projects, including a shoot with Lady Gaga, provided Genesis with invaluable experience and exposure.

Genesis Webb [08:33]: "My first job with him was on set with Lady Gaga. So that was like the most intense and scary experience of my life."

This mentorship not only refined her skills but also connected her with influential figures in the industry, setting the stage for her future collaborations.

4. Building a Partnership with Chapel Roan

Genesis's partnership with pop star Chapel Roan began serendipitously during a V Magazine shoot. Both hailing from similar Midwestern backgrounds and sharing a thrifting ethos, their collaboration was natural and synergistic.

Genesis Webb [11:28]: "We had a lot of fun on that set. We were constantly just joking about the clothes and the politics. Like, I don't care."

Their combined vision—Genesis's 90s club kid influence and Chapel's glam drag aesthetic—resulted in a unique fusion that has become Chapel's signature look. This blend of styles has resonated deeply with audiences, carving out a distinctive space for Chapel in the music industry.

5. Crafting Iconic Stage Looks

Styling for live performances presents unique challenges, from ensuring mobility to maintaining aesthetic integrity under stage lights. Genesis discusses the meticulous planning and spontaneous creativity required to curate Chapel's dynamic stage wardrobe.

Genesis Webb [17:53]: "I will never style another person for performance in my whole life. It's so limiting."

Despite the difficulties, Genesis finds fulfillment in the transformative power of stage styling. Each outfit is a narrative, contributing to Chapel's overall performance and leaving a lasting impression on audiences.

6. Inspirations and References

Genesis draws inspiration from various sources, with "Party Monster" standing out as a personal favorite that significantly influenced her aesthetic.

Genesis Webb [25:32]: "My favorite was Party Monster. It was the most close to me, personally."

Her ability to reinterpret nostalgic references for a modern audience keeps Chapel's look fresh and engaging, blending timeless themes with contemporary flair.

7. Overcoming Challenges and Embracing Growth

The fast-paced environment of touring and live performances demands quick adaptability and resilience. Genesis reflects on the intense schedule and the pressure of delivering flawless looks under scrutiny.

Genesis Webb [19:07]: "It's intense, you know, how can you really know exactly how something will perform in the real setting?"

These experiences, though challenging, have been instrumental in her growth as a stylist, teaching her to navigate high-stakes situations with grace and ingenuity.

8. Future Aspirations and Creative Horizons

Looking ahead, Genesis aims to expand her creative repertoire beyond styling. She aspires to delve into costume design for film and eventually venture into filmmaking herself, seeking to create and tell stories through visual media.

Genesis Webb [29:52]: "I would love to eventually go to film and cinema and do costume design for film... I would really just love to make a film myself. That's always been the goal."

Her forward-thinking vision underscores her commitment to evolving as an artist and contributing to the broader landscape of fashion and storytelling.

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Genesis Webb's journey from rebellious youth to influential stylist exemplifies the power of resilience, creativity, and authentic self-expression. Her collaboration with Chapel Roan not only highlights her exceptional talent but also sets a new benchmark in performance styling.

For more insights into the fashion industry's movers and shakers, subscribe to The Who What Wear Podcast and stay tuned for future episodes.

Transcript

[Bobby Schessler]

Hey everyone, it's Bobby Schessler here, the shopping director at who? What where? You're about to listen to an epic podcast episode between our Editor in Chief Cat Collings and Genesis Webb, one of the most inspiring and coolest stylists in the fashion and celebrity scene right now. Genesis is known for her forward concepts and avant garde aesthetic with styling selects that are always ahead of the curve. One spot where you can find unique and cutting edge pieces is ebay. Ebay is a trove of amazing new pre loved and vintage items. I personally use ebay Authenticity Guarantee, which offers authentication for eligible items to find the coolest designer pieces. You can filter for authenticity Guarantee when hunting for those special gems to see which pieces will be checked by experts. I recently searched ebay for vintage Vivienne Westwood, a label Genesis uses in her styling. I I love how jewelry can instantly take any look to the next level. So I typed Vivienne Westwood necklace in the ebay search bar and filtered for authenticity Guarantee to see options that could be verified. I found a striking pearl choker necklace that I can't stop thinking about. Picture this statement necklace styled with the white button up shirt, barrel jeans, a sharp blazer and of the moment flats. I decided to keep looking for jewelry options, especially as I'm starting to think about holiday shopping. A vintage Prada necklace and bracelet set stuck out. The necklace is a longer chain situation and I would wear it with a black turtleneck, trousers, a longline coat and loafers. Very chic. Ebay is the destination to find pre loved and vintage fashion treasures like the Vivienne Westwood necklace and Prada set I just mentioned and I get the added confidence of knowing these pieces will be checked by experts and I love that.

[Cat Collings]

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. I'm who what Wear Editor in Chief Cat Collings and today I'm so excited to be talking to stylist and fashion Creative director for Chapel, Genesis Webb. Genesis Met Chapel in May 2023 and the pair immediately clicked. She spent the last year fashion directing Chapel's looks as the pop star has rocketed in popularity from her iconic Swan Queen appearance on the Tonight show with Jimmy Fallon to her Lucha Libre inspired outfit for 110,000 fans at Lollapalooza. And that's not to mention the other incredible looks she's created for Chapel's Midwest Princess Tour which just wrapped up.

[Genesis Webb]

Genesis is here today to talk about.

[Cat Collings]

Her early influences, what she looks for in collaborators and where she hopes her career is headed next. It's all coming up on who, what.

[Genesis Webb]

Where.

Jenna says thank you so much for joining me on the show.

Thank you so much. I'm so excited.

So I feel like we should start kind of at the beginning. Ish. And talk about your journey into styling. I know you mostly grew up in Oklahoma City, so, you know, not necessarily the fashion capital of the world, but you absorbed a ton of artistic inspiration from art films, Tumblr. Paint a picture for me, if you will, of Genesis.

As a teenager, I was so rebellious and anti authority and I had a pretty rough childhood growing up. I parent at 14, so after that everything, like, caught up from just the past and then I kind of just like went into full blown rebellion. And before that I was. I mean, I got arrested for the first time when I was 12, so I was just naturally against the rules and I didn't really trust anyone. So like any authority figures trying to tell me kind of what they believed is right for me, I just was like, no, I'm gonna do the exact opposite of that. I would skip as much class as possible and then I would just kind of like be out with all the other like, degenerates. And Oklahoma City is really boring. There's a lot of drugs. You know, if your parents, like don't have enough money to like send you to sports and stuff, which like my mom never did, there's really nothing to do. So I think from that I was able to find countercultures, which Oklahoma City has a great punk scene and a hardcore scene. And those countercultures are where I really, like, developed style from. That was the first time I saw anyone take their image that seriously and like, to a defined space was in that punk scene. I mean, like in the summer, doesn't matter, you're wearing 100 pound, you know, leather jackets. It's more than even a Persona, it's a lifestyle. Seeing like style as a lifestyle was just something that I really grasped onto to be kind of like a saving grace when I was home and kind of just like non stop on my computer. I love Tumblr. I was obsessed with it. And I found so many like, deep cut, downward spiral movies like Requiem for a Dream and Spun and I just like would skip school and kind of like watch those alone.

Intense.

Yeah. It felt comforting to me because I like, was seeing my real world be so hectic and chaotic that it like felt like this relief that I could watch others live in that similar Space and feel their feelings and emotions and see that like, you know, there were other people also experiencing similar things. And like, definitely, obviously, you know, rec room for a dream and spun go way over the edge. But it did make me feel almost better about my own reality. Cause I was like, okay, well at least it's not that bad.

Yeah, interesting. It's so cool that you found these communities that made you feel seen and made you feel inspired. Especially in this space where you were testing boundaries and trying to figure out where you sat in the world, I guess, for sure. So it seems like you've always had an affinity for different types of art and self expression and you've taken it in a number of directions. Right. Because before you stepped into this world of styling, you had a thrifted clothes business and started a jewelry brand. And then I'm curious how you transitioned from those endeavors to styling.

So the thrifted clothing brand was kind of like a last ditch effort to just like make some money.

Amen.

Yeah. I was so broke in Denver and like, I've always been good at thrifting and like I thrived anyways and Denver had a great thrift space at the time. And so I was like, well, you know, we'll just try this to make rent. I gained enough like followers on depop and stuff to be like, okay, well maybe I'll just like make an item. And it was like a necklace and it sold really well. And I was like, okay, well we're just going to keep going. That was happening for a few years and I was able to live off of it. And then I moved to LA in January of 2020 and then the pandemic hit two months later. People obviously weren't shopping and buying the same way like they were. And so I just fully lost that revenue. And I was devastated. I felt super attached to that brand at the time and I just like had to let it go. And I let it go in a way that just like closed that door entirely. Like, okay, I'm done. I'm not gonna sulk anymore. I'm just gonna pivot. I just followed every stylist that I could find on Instagram all over the world. And then a stylist, Davey Sutton, posted from London that he was coming to la. This was like within the same week that I did this. This was like three days later he needed an assistant and I was like, I'll assist you. And then I assisted him on two things. And then Nicola Formichetti reached out to him and asked like if he Had a good assistant here and he suggested me.

[Cat Collings]

Wow.

[Genesis Webb]

It's an interesting example of, like, when you close one door, truly, like, the next one will open for you.

I'm a huge believer in that.

Yeah. Then it just happened so quickly, and not even just happened quickly where you got a job and then those jobs built. But, like, suddenly we're connected with some of the most powerful stylists in the world.

Yeah. Iconic, literally.

I mean, for those who don't know Nicolette, he's a renowned creative director, designer, stylist, and editor who's a frequent collaborator of Lady Gaga and famously styled her in that meat dress. So I'm curious, working with Nicola impacted how you thought about styling or learned about styling and what that was like.

My first job with him was on set with Lady Gaga. So that was like the most intense and scary experience of my life.

I love this.

Yeah, it was literally insane. And I, like, get to set and I'm just like, well, there's no way, like, I'm gonna meet her. And then I did within, like the first 20 minutes. I was like, this is actually so surreal. It makes me feel a little better. Like I'm meant to be in the position I'm in because of how serendipitous and confusing those moments were. But it was amazing with him. It's really nice because he let you not only be who I was, but also give a lot of input. He trusted me to just, like, make some styling decisions. With Gaga, it was a little different because there was already a relationship built, but for other things, he really allowed me to kind of be the stylist. My, like, second job or third, I don't know with him was he was out of town and it was for Claire's big commercial shoot, two days. And essentially I took his place. He calls me and he's like, oh, you know, you'll be putting like ribbons on hair. It's fine. It'll be easy. And then it turned into like two weeks. I did not sleep. I made like a hundred page spreadsheet of all of the items from the Claire's website that I wanted. So there was like a hundred items per page. And then I walked into the room and I was like, one of the youngest people there. And there's 50 people asking me questions. I don't. No at all. And I'm just having to fake it and just be like, no, no, no, I do belong here. Even though I didn't think so inside. It was just like, I'm just doing it because who Else is going to do it. Like, I have to do it. And so I think that really helped a lot because it just took the training wheels off, like, immediately.

Right, right. You know, you just started, but now you've got to ride the bike by yourself.

100%.

Wow. So your partnership with Chapel Roan is often compared to Nicola in Lady Gaga's. And you actually met Chapel while working for Nicola.

Right.

And I'm cur can share that, like, origin story and how you guys clicked to create the foundation for your partnership.

Yeah, totally. I was not very knowledgeable of fashion, like, of real fashion, high fashion. I come from, like, a thrifting background, like, a lot more white trash esque. So at that time, I was just, like, very uninformed. And when we were on set, it was for a V magazine shoot. So I was assisting Nicole and Chapel was the person that we were shooting. And me and her just clicked in that, like, Midwest way, being like, well, we don't care about these designer brands. Like, we just want you to look fun and good and, like, she also comes from a thrifting background, too, so it just kind of, like, it made a lot of sense. And she's also just very much a girl's girl. And I was one of the only women on set, so I think that also was just a natural draw. We had a lot of fun on that set. We were constantly, like, just joking about the clothes and just kind of being like, oh, the politics. Like, I don't care.

Right. Like, all the traditional high fashion world of like, oh, you should care about this look because it's this designer and they lent for us and that kind of thing. And you guys, your midwestern values of, like, actually, we just care about the.

Vibe and the aesthetic and 100%. I had no idea that brands even, like, gave budget for different shoots. Like, I had no idea how that world worked. And I was just like, well, I don't want to do this full look.

Right. I know that sucks.

I never do it unless it's Thom Browne or Margiela. Those are the only ones that get my full look. Okay. Because they're perfect.

You're like, I am in alignment with what you view as a full look.

Yes.

I struggle with that all the time. I'm like, of course there's still styling to it.

Is there?

You're so limited. I don't know. It's like having your hands tied behind your back. We struggle with that as well.

I hate a full look. That's a little more clothing secretary to me. As Violet Chachki says, which I can't sell, so I call myself that all the time.

Clothing secretaries. That's a new face to me. I'm pocketing that.

Yeah. No. Violet goes, yeah. If you don't know how to sew and you're a stylist, you're just a clothing secretary. And it really gut punched me. It really did. I was, like, looking at classes, like, tailoring classes.

You're like, that's deep.

I love it.

So Chapel's by no means new to the music industry, but it seems like the two of you linked up around a similar time to when she was beginning her ascent into, like, more of a mainstream stardom. And obviously, the looks you've created for her have been part of this, like, visual identity. People are very familiar with her signature look. But what I find curious is you guys have spoken in the past about how you don't have the same sense of style, but you love a lot of the same references. So I'm curious what the, like, Venn diagram of your perspective on clothing and getting dressed as and hers and how you guys meet in the middle to create the looks that you do.

I think it's. It's the same coin. It's just, like, a different side. Where I lean more like 90s club kid. She leans more. A little bit like glam Dr. And then there's, like, very nice central combination that comes into play that's, like, glamorous, with, like, a bit of edge, but still very put together. And, you know, with more budget, we've been able to be a little bit more put together now. Now on this latter front of the year before, it was a little. Some things are a little messy, but we did what we had to do. It's nice to have the combination it also, like, creates. Instead of it being, like, one reference, it's like a reference scene from two different perspectives, which then comes in the midd and really create something that people, like, maybe, I mean, have seen before, but just in, like, a different way.

Right, right. It's almost like a more unique product because it has the nuance of this vision plus this vision. And maybe that's part of why her outfits have resonated so much with people, is because it's, like, it feels fresh, you know, the two visions coming together. I love that.

I'm hoping that it lets people know that the niche references work, dressing up and being very big, that works. Like, it doesn't need to be scary. I think. I hope for other artists that the people in Their ears can be a bit more open when it comes to being very expressive.

That's a good point. Because obviously behind the scenes of an artist is like all of these people who are invested in the sort of commercial and the monetary aspects of their career. Right. And they want to have an image that is marketable and that the widest amount of people will resonate with.

Right.

And to me, Chapel's looks, you know, they really go there. Right. It's a strong point of view. It could be, in theory, like, polarizing to some people or too much so. That is cool to think that her success and your success could kind of open more room for more self expression.

Yes. Pushing it in that direction at least. We've been very minimalist for a while now. A few years. The minimalism was really where we sat in the industry entirely. So I think overall in industry, we're gonna see a full, like, maximalist revival. And I'm very excited about it.

Yeah. More fun.

Yeah.

Let's talk about some of the looks. There's the current tour. I feel like the Lady Liberty look at Gov Ball to the wrestling inspired costume at Lollapalooza. It just continues to, like, build on itself. And I'm curious what your process is for, like, planning a tour of this length, mapping out ideas and how it might evolve. I'm thinking of your, like, spreadsheet from Claire's. Is there any of that energy that's tapped into it?

No, not that spreadsheet ever again. I did it in chunks, starting from Coachella. I actually. I sat with Hunter Clem, and he's like my main confidant. I love him to death, and he's one of the only people I trust just on a level to tell me if something is good or not. We sat down and it was before Coachella. It was like a couple months prior, and I think we went through, like, Coachella looks and then four or five festivals after that. We, like, talked about it especially Coachella was like, I knew I wanted the lady Ms. Kier Butterfly, and me and Chapel had talked about that already, so that one was already kind of set. But I wanted something else for the, you know, next week, in which we ended up swapping them, but that was just a little bit more in your face, you know? And so me and Hunter were just talking about it, and it was like, oh, yeah, like, well, if, you know, the band has, like, eat the Rich, like, what would hers have that's, like, stupid and funny and maybe like a double entendre. We both in unison it was like, eat me. But, yeah, so we did that together at first, and then as the year went on, everything just got really fast. Like, so fast to the point that it was like, whenever we saw each other, and I was able to because she was so busy also, it was like we would see each other and then we would, like, real quick, chat 10 minutes and just go through, like, the next three or four and just be like, okay, what. What theme are we gonna do for this one? Like, what do we wanna do for this one? And a lot of them had to do with, like, obviously Gutball was in New York, so, like, we played off of New York and, like, different things like that. For Boston Calling, we were gonna do, like, a Boston Tea Party theme, but we didn doing that because I couldn't get it together in time. But it was like, stupid things like that. It was very, like, meme inceptions at first, you know, and then it's like, okay, how can we make this be a moment for fashion and then also a moment for makeup and a moment for a performance that kind of all sits together.

Yeah. I feel like there are a lot of elements to think of, even on stage. Like, the physical act of, like, performing right, and, like, what outfit is going to work well for. Tell me about that. Deep sigh.

I just. I can't even express to you how I will never style another person for performance in my whole life. Like, this is the only one, and I'll do it for however long she has me, but I will never do it again. It's so limiting. It's the most limiting stylistically. I think job in the industry is performance wear. And I think that's why a lot of other pop stars and things kind of stick to the same, like, structure of clothing. And I totally get it. And, like, it's just what makes sense because it works. It's tried and true. You know, you're going to be able to move in it, you know that. You know, you can get multiple of them made. I mean, there's so much to it, and I've learned this year and I've had my. My sorrows for sure, and mistakes. And it's really hard having a mistake on stage. I hate watching it for her because obviously I'm standing there and I'm just like, fuck, I failed you. And also I'm failing the fans that are out there having to be disrupted because we're having a wardrobe bound function on stage. That's the hardest part of this, I think, is just that anticipation of failing in front of a hundred thousand people, there's really, like, nothing like it.

It's intense, you know, how can you really know exactly how something will perform in the real setting?

100%. For all those festivals, we didn't do fittings or dress rehearsal. So the first time she wears the outfit, she's wearing it. It's on stage, baby. It's showtime. Like, she gets a couple, you know, I'm like, okay, do the splits right now. Like, before we go on, like, do the splits. Kick up, kick up, move around as much as well, you know. But that's really all that we got for most of the festivals this year.

I get how that would be really, really intense. On the flip side, though, we also did a podcast recording with Chapel's set designer that she uses frequently. She actually said something that almost made me cry where she was like, I hope every creative gets to have this moment. And I think she was talking about the apple she made where, like, your work gets to be, like, seen by such a large crowd and appreciate it and be such a moment in time. That is so cool. And, you know, likewise for the costumes.

Yeah, it's been hard for me to take things in all year, to be honest, just because it's moved so fast. And, like, I was flying out every weekend for a new festival with a new look for the band and for her. And I didn't have an assistant until a few months ago, so I was doing it all by myself.

No way.

I swear to God.

That's wild to me.

I swear. And it was worth it and, like, it taught me so much. So I'm so grateful to have that. I learned new things literally, like, every week. It was crazy. But, yeah, I think because of that and because I'm so afraid of not even failing. Just like I'm scared of bad things happening. I feel like I just don't even. I don't take in the positive and I don't take in the negative. I just keep it super neutral. But that moment at Govall, I will say when she turned around, I felt like I was watching a documentary.

I was like, this is history.

This is history. And it felt like history. It was the biggest crowd at the time that we'd ever seen. You just don't expect that in the middle of the day, like 2:00pm, you know, in New York, that you're going to go and see all these people. It's just something else. I hope also every creative gets to experience that without the trials and the tears right on side stage.

You're really Real about it. You're like, actually, it's hard as hell. You'll probably be processing for, like, years to come.

I feel, like, 1,000%.

Oh, my gosh. So I want to talk about some of the themes that come up in your wardrobe. Styling choices, latex corset, cowboy hats, chaps, and boots. And I feel like all these things kind of came together recently for the final festival of the year at Austin City Limits, and it was, like, peak display of your work. Tell me about how you decided to end the run with these looks.

Initially, we had a rockstar theme for another festival, and we did end up doing that theme. And so then it was like, well, acl. We'll do it. So essentially, rockstar theme. I mean, that's like, yes, easy. I know what to do. And then for her look specifically, we had pulled a bunch of stuff. We pulled the Leatherace, we pulled a lot of chrome hearts for the other festival, and then agreed to do Rockstar for ACL instead. And so it was like, okay, well, she was co headlining, which, like, she hadn't done that yet, so it just needed to be bigger than what we were gonna do before. It needed to be custom. It had to be. And so I knew that we wanted the Leatherace chaps. And then from there, it was just like, well, I mean, Zanna's always the top choice, so if I could have Zienna do every costume for the rest of my life for anybody, I would choose to do that. I cannot express it enough, like, how spectacular of a designer she is on so many levels. And performance wear, she just is untouchable. It's Chapel's favorite things to wear. The leather is amazing. The detail is amazing. I mean, it's so thoughtful. She's got such a good eye. Like. Like, I could rave about her forever. Really?

Yeah. It's like a real strong endorsement. It kind of leads me to my next question, which was, what do you look for in these collaborators, these designers that you work with?

We've had a lot of designers this year, young designers, do all of her custom. So it's been really just wonderful to be able to work with so many different artists that I've had just in my radar for a while. And just be able to create these custom looks together has been really magical and so fun. And for performance wear, the fabric is the main choice. I like latex and leather. Chapel likes latex and leather. I don't get scared with latex and leather. When I've used any other fabric choice, I get scared. Besides if it's stretchy. But I don't like stretchy costumes. I just don't. I don't like the standard stretchy situation.

Like a spandex or that kind of thing.

Yeah, like a rhinestone spandex. I'm gonna try to never have that if I can avoid like no shade. It's just not my thing. At the end of this year. What I know is I don't think I will stray away from leather and latex. I think they're the most versatile for costuming. And then I also think they're the most durable and safe. And I think they just look the coolest too. So that's kind of where you start. And then from there it's just being able to trust that someone is as dedicated to their craft as you in a way that is thoughtful, like super thoughtful. Not just like, oh, I'm making this. My career is gonna rocket because of this. When people are doing it for those reasons, the ego is involved. It becomes really hard to pivot. And when you can't pivot, it's not going to end well for anybody. I think everyone has this thing in their mind at first when they start a project of that sort. And the likelihood that you're gonna start here and stay there when it comes to performance not happening, it just won't.

Yeah. So you look for somebody who's like, actually their first priority is the craft and like making the garment work for the situation and being flexible with that.

Absolutely.

Yeah. I feel like Chapel's lucky to have someone who cares so deeply and understands how their work is part of the ecosystem of the whole performance. I want to talk about your references and how you incorporate them into styling. You've mentioned in the past that part of the fun is bringing these references to a new generation. And I'm curious what some of your favorites have been and. Or where you go for reference inspiration.

My favorite was Party Monster. Because that was just the most close to me, like personally. And I cried at Bonnaroo watching it. Cause it was just a really full circle moment for me. I had gone to Bonnaroo exactly 10 years prior and to just think about what I would be thinking about myself as a 16 year old and how it was just so full cir. And then for it to be Party Monster 2, which was a movie that I escaped from my reality in so much, so much. I mean, I remember I showed everyone that movie. I was obsessed with that movie. The glam in that movie and just the self expression and the clothing and everything. And it introduced me to just club kids in general, that movie. So that movie was so important for my upbringing. So important. The Chloe Savini hospital outfit I had wanted to do for Halloween for, like, 10 years and just never did it. And so I was like, we're gonna do it here.

We're gonna do it in this way that was probably larger than I ever imagined.

1,000%. And then just references in general. I love Pinterest. I think I could win an award on how good my Pinterest algorithm is. Just, like, kind of bringing me back to, like, Tumblr days a little bit. And then I love watching films. I feel like I'm always getting inspiration from movies.

Yeah. So I know you've obviously had an enormous year, and it's wild to me how prolific you've been in terms of the number of looks you've created. I feel like it could populate a museum exhibit already, which is pretty impressive. I'm curious if there are any looks that stick out to you as, like, being either the most, like, satisfying to bring to life and. Or the most challenging. That was, like, hard to pull off, but it came through.

I think the most satisfying for me was Fallon. The series of events were perfect. We had the White Swan being made. She wasn't supposed to have an interview. It was just performance.

Oh, interesting.

So we had the White Swan made, and I was like, you know, we should do a paparazzi moment. We've never had one. We're in New York. You're gonna walk into the building, you're gonna leave the building. Like, you might as well do the thing.

Yeah.

And then it was, like, three days before we left for New York, and the blondes sent me an email with their lookbook, and I saw the Black Swan look, and I was like, perfect, right?

What are the chances?

What are the chances? Like, what are the literal odds? So I requested that, and I was like, has anyone worn it? And they were like, no. And I was like, okay, this is amazing. This would be perfect for the paparazzi. She can arrive as White Swan. She'll leave the Black Swan, and then we get there, and then they're like, she got asked to do an interview. You can't even make it up. It was like, wow. Well, thank God I have this outfit. Because, like, at the time, I never really brought extra Runway outfit because we never had that opportunity. Everyone said no for a really long time to send us anything. So, like, I never had Runway ever just, like, on hand, which that taught me to have extra outfits. Always. It was just so perfect. So that was the most satisfying. I also felt like it was still a performance, but it was the most fashion we had ever gone for a performance. That was so satisfying to me. Those looks.

Yeah, absolutely. And it's storytelling almost in the transformation. It's so cool. It seems like you have a lot of creative freedom in your work, and I'm sure a lot of that comes from a lot of trust in your relationship with Chapel.

I'm curious.

Does that ever feel challenging where it's like, there's so many directions or things that you could pull from, and is it too much creative freedom, or does the inspiration feel endless and it's just exciting?

That's a really good question. I can feel both sides of that spectrum. I think sometimes, I think, in general, having someone you're working with, you know, you already have a structured box, which makes it, like, much easier than if you're doing your own projects, because you have nothing to start from besides, like, yourself.

And it's even more closely like, your ego.

Your ego, exactly. That's too scary. But when you're working with an artist that kind of, like, muse, in a way, is there, it's nice. It makes you have to think a little harder, I think so.

It's like, I need to impress you. I know you know what's good.

Yeah.

So you clearly have such a strong artistic vision, and I'm curious if you have considered ever applying that outside of styling. In a perfect world, where do you see yourself expanding or how your career is unfolding over the next several years?

I would definitely like to. Yeah. Branch off, for sure. I think that most stylists want that. I don't know many that want to be a stylist forever. Unless they're, like, truly editorial Runway stylists, which, like. Yeah, I guess if you want to do that forever, that makes sense. Yeah. I mean, I would love to eventually go to film and cinema and do costume design for film. I just. I love the world. It would be so nice to be able to be in a world for years at a time and just, like, help build that world. I mean, that just sounds so. To be able to do it a bit slower and obviously it moves fast, but just to be able to really dive into the backstory and the creations of garments and things is really so beautiful. And then from there, I would really just love to make a film myself. Yeah, that's always been the goal.

Oh, wow. Okay. It sounds like you're clear on your vision. If someone were to ask me that I'd be like, I have no idea. But I love it.

I just think you should be very delusional all the time.

Well, so far, the making your dreams a reality has worked out well for you, it seems.

I don't know why. I don't know why or how, but I can't think about it too much. It makes me anxious.

Right. You're just, you're flowing well. Thank you so much, Genesis, for coming on today. This is really, really fun to get a window inside your world and just speaking with you, honestly, it makes so much sense to me, the wild success you've had, just your dedication and your vision. It's. It's really fun.

Thank you. I really appreciate that. It was so fun. I'm so happy to talk to.

A huge thank you to stylist and.

[Cat Collings]

Fashion creative director Genesis Webb. 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 guest suggestions or any other feedback, drop us a [e-mail] or you can find us on SocialWhatWear. See you next Wednesday on the who, what Where Podcast. This episode was produced by Hilary Kerr, Summer Hamrez and Natalie Thurman. Our production assistant is Claire Schmidt. Our audio engineers are at Glen Canyon Audio, and our music is by Jonathan Leahy.

[Hilary Kerr]

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