← The Who What Wear Podcast
The Who What Wear Podcast
It-Girl Stylist Dani Michelle on the Impact of a Simple Look, Sourcing Archival Vintage, and Summer Accessories
00:30:09
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- [00:02]
A
Hey, who what Wear listeners. I feel like people have been talking about selling on ebay a lot lately, and the more I hear about it, the more it makes sense because we all have those things. The jacket from a very specific phase, the lamp that only worked in your last apartment, the pan you bought for
- [00:19]
B
the version of you that was definitely
- [00:21]
A
going to cook more. And from what I hear, selling on ebay is actually really simple. It's basically just a few photos, and suddenly the stuff that's just been sitting there has a chance to millions of buyers who are genuinely excited to have it. That's what I like about it. On ebay, the things that no longer fit your life can still be exactly right for someone else. And you get a little more space, a little extra money, and maybe a better sense of what fits your life. Now find what you love, sell what you don't on ebay. The place for things people love. Welcome to the who what Wear? Podcast. I'm your host, Hilary Kerr, and today on the show, I'm sitting down in studio with stylist Dani Michelle. Dani works with a roster of our fashion favorites, including Kendall Jenner, Hailey Bieber, and Daisy Edgar Jones. Today, Dani joins us to discuss her journey to becoming a stylist, where she finds inspiration and her best styling tips for summer. Plus, she shares her prediction on what the it accessory of the season will be. It's all coming up on who what where.
- [01:49]
B
Dani, thank you so much for coming on this podcast. I had to beg you to come back, but I'm so thrilled that you're here. I know you came on the podcast with Kat Collins a couple of years ago, but for anyone who didn't hear that amazing episode, they should go back. Talk to me about getting your start in fashion. And also, can we talk about the fact that you have my favorite background, which is editorial?
- [02:10]
C
When I was younger, I mean, all I wanted to wear was Gap and Doc Martens, but I was like, a really slim frame, and that didn't fit for me. And so my mom used to get box of clothes from a store in New York. And I remember, like, being the first person to have a lot of things because she was getting, like, French brands and Italian brands. And I remember being, like, the first girl to have Capri pants and everyone thinking that they were so cool. And it was kind of in that moment that things clicked that, like, fashion felt really fun and confident, and I really loved that individuality that I think is when I kind of really realized, like, the power that a great outfit can. Can Give you.
- [02:45]
B
How do you feel about the fact that capri pants are having a moment again?
- [02:48]
C
Oh, it's so nostalgic. I remember being in the hallway when the girl in the sixth grade was like, I like your pants. And she was like the most stylish girl, and I was like, okay.
- [02:57]
B
At what point did you start thinking, like, maybe this could be an actual career path for me?
- [03:02]
C
I knew I loved fashion, I really loved writing, and I thought that working at a magazine would be the perfect fit. That was, like, my dream. I wanted to work at a magazine. So before my last year of college, I got internship at Seventeen magazine at the editorial department. And I was like, the first one and the last one out. I took like a 20 minute lunch. And I was just, like, so happy. I was like, this is it. And I probably fantasize my full future there. One day, a stylist came in and was like, she's gonna come with me to set. And I didn't even know what set was, but I was like, okay. I didn't know where I was going, what was happening. But that was my next day. When we got to set, she was obviously shooting an editorial for the magazine. And I was watching her decide what they were gonna wear, the photographer taking photos, and I was like, this is a job, picking out an outfit. Creating this moment, like, is a job. Like, this is what I have to do. ID magazine was like, my favorite magazine. And Edward Anunnafel was the fashion director, and he got that position when he was 18. And I was like, I am behind sched. I have got to start working. So I graduated early and I moved to California. I had never been here before. I didn't know anyone here. And I was just like, I have to start. I have to get out. I got here on a Thursday, and with just a bunch of, like, kismet, like, connections, by the next Thursday, I was assisting a stylist.
- [04:14]
B
You're kidding.
- [04:15]
C
Yeah. I remember her being like, meet me at Barney's fourth floor. And I was like, it's happening.
- [04:20]
B
It's all happening. God, that was really fast.
- [04:23]
C
It was a neighbor in the building that I found off of MySpace. He was like, don't you want to be a stylist or something? And I was like, yeah. And he was like, I got someone for you to assist. Like, be here. Call her.
- [04:35]
B
Were they doing editorial work or were they doing celebrity work?
- [04:38]
C
She had a really big career, and it was like, fully in the deep end. We were fitting in one city for a photo shoot, taking A private plane, fitting in, the air landing, going to the show, the taping, flying back, getting ready for another show, a concert, a music video. She was so busy, I don't even know what was going on before. But I became her assistant and she taught me everything. In every store I went to, everyone like raved about her, loved her. Like, she did business the exact right way. Everything was done to the T. It was so organized. And I was just like, this is what I want for myself. I want to be respected. I want to have really great relationships. I want people to like, really think that I'm a nice, good person and I want to do really good business. And so she was my role model and she taught me everything.
- [05:21]
B
There are folks who have like, very process oriented, above board, buttoned up, organized ways of working while also being creative. And then just to be totally honest, lots of people are not, not organized.
- [05:33]
C
I hear the craziest stories. I always say it's one part business, one part style and one part personality. And the business side of it is so important. Like, there's so much bookkeeping. We have Google sheets, Google Drives, Google Slides, spreadsheets that you could only imagine. There's so much business that goes into it.
- [05:50]
B
I was talking to Nicole Chavez a long time ago and she would have to put her personal credit card on
- [05:57]
C
the line back in the day, all
- [05:58]
B
day for jewelry to the point where she had a client, an earring got lost. But like all of that money, all of that stuff is borrowed on a stylus credit card. And I had a panic attack listening to that because I don't know that people understand the reality of like, yes, the schlepping, but also like the personal responsibility of it.
- [06:14]
C
The other day I pulled earrings for a client. Well, we had like six pairs. We picked the top two and then they gave me the paperwork for it. One was like 430,000, the other one is 360,000. And I was like, here's a million dollars.
- [06:26]
B
Don't lose it.
- [06:27]
C
Yeah, like, it's really crazy. Fine jewelry is very intimidating for that factor. But I think a lot of people, when you say, like, you're a stylist, like, that's so much fun. And like, yes, I have had the most magical, fulfilling moments in my career. But like, it is a business and it is really demanding.
- [06:42]
B
You're accountable for every single piece that comes out that's under your name. I don't think people always understand that level of responsibility.
- [06:49]
C
They're like, I want this type of dress. It's like okay, well, a designer has to be making that type of dress right now, and then it has to be available for you, and you have to be approved for it, and it has to have not been worn already, and it has to be available those dates, and then I have to get it for you, and then multiple options for you to see, because maybe you feel bloated that day. You know what I mean? Like, it's not just as simple as what they want doesn't come out of my hands. It's dependent on this entire ecosystem. Fashion business. Yeah.
- [07:15]
B
So at what point did you feel comfortable and excited and open to going out on your own?
- [07:21]
C
When things started, I was assisting on an Adidas shoot with Kenneth Capello. I don't know if you know him. He's the coolest. The Silas had to fly back to New York, and Adidas wanted pickup days, and I knew the product so well, so they all asked me if I could do it, and the Silas couldn't come back, And I did that shoot, and Kenneth and I really clicked, and he started booking me on jobs, like, on my own. So we did Adidas and Puma and different magazines and celebrity, and I had, like, a really great time with him. And then I started doing stuff with Nyla magazine, which, you know, I wasn't paid, but they gave me a shipping account that was, to me, like, the most valuable thing because they gave me complete creative control. They would tell me, this is the vibe that we want. This is the story we're telling. They would literally just let me do the editorial. I remember it was Nicole. You would email her and be like, hi, Nicole. Like, I want to reach out to, like, Marc Jacobs, like, everyone that I would want for the shoot. And I was like, can you give me the best email address? And she would give me all the email addresses to reach out to them. I built my entire Rolodex, like, through those relationships. And then also I would do, you know, their upcoming talent and, like, whoever they were featuring in the magazine. I got to do a lot of stuff with who, what, where, and work with your guys's talent. And sometimes we would do talent. Sometimes we would just do a creative story. And I was, like, really fulfilled. I was supporting myself, and I felt really great about that.
- [08:33]
B
At what point did you feel like, okay, like, I have unlocked the next level of things? Or, like, people would start coming to you and start taking on celebrity clients, and especially because, like, you have, like, an amazing roster that you work with and have been in your world for a long time. How did you start to develop that?
- [08:49]
C
I remember calling CAA and asking for a meeting and having my, like, printed out portfolio book and, like going and sitting and showing them my book. And I had business cards. Like, that was how you connected with people. I never asked what my rate was. Everything was an opportunity. That was my payment, was the opportunity. Listen, on a set is a publicist, an agent, a photographer, a producer, hair, makeup talent.
- [09:09]
B
So, like, slew of contacts.
- [09:11]
C
Someone from that would rebook me. Like, someone from that was like, oh, I really like this girl. You should use her. And it kept building that way. And then in 2017, I got the opportunity to work with Courtney and we just really clicked. We were just having the best time, like, making looks. And I think also, like, Instagram was changing at that point and it started becoming more of a portfolio. Things just evolved from there. It wasn't like something I was going after. I really just loved storytelling. I was actually at that point in my career really looking to get into movies. That was something I really wanted, like
- [09:40]
B
to be a costume designer.
- [09:41]
C
Yeah. And I did a movie and won an award.
- [09:44]
B
That's amazing. I love that you say that so casually.
- [09:47]
C
I loved developing a character, and that's really kind of what I am doing, whether it is with, you know, an actress or personality. Like, we are just explaining their perspective in fashion and building a character and building. Building themselves up.
- [10:01]
B
What do you build from? What is your process like with your clients?
- [10:04]
C
When I get a job, a client has an event or carpet or whatever it is that we're prepping for, I go on to vogue or tag walk, and I build out all the looks that I love for it. It's so interesting when I look at it Runway because I'm always looking at through the eyes of my client. So it's like I can look at a Runway and make these selects for this person, but then look at the same Runway and make different selects. Even for the same person, different selects. Cause it's a different city this time. It's a different season. I have to go back and relook all the time because even when I do save like 400 looks from the season, I may be looking for something else in that very moment. I do a lot of research. Sometimes it's me, Sometimes it's me and my team. Sometimes it's just my team and I'm reviewing all of their research. Once I decide, like, all the selects, I want to go after. Everything we want. The email process starts. And so your request, requesting from everyone that you want these Pieces.
- [10:53]
B
So when do approvals happen with your client? Are you doing a vibe check of like, this is the direction we're going? Like, stop me before I send out 40,000 emails.
- [11:00]
C
No, because we're all in a groove, you know, like, I've been working with everyone for two, three, four, five, six, seven years. You know, I guess that's the benefit
- [11:09]
B
of long term relationships, right? You developed a shorthand.
- [11:12]
C
At this point, the only time when we really communicate about a look before it happens is when it's like a big red carpet and we're really going after something super specific and we're like, is this in the moment? Is that the moment? Otherwise, I'm prepping the job. Because you also don't want to say to someone like, do you love this? And then they're like obsessed with it. And then email the brand and the brand's like, sorry, someone else already has that confirmed or it's stuck in China or lost in FedEx. And then they get their hopes up.
- [11:36]
B
Right. So you have to manage expectations.
- [11:39]
C
You know, it's like what it feels like when you put something on for the first time and it's like so exciting, but the second time it doesn't hit as hard. Like, sometimes seeing it fresh in the fitting is like the best. Sometimes I like that element of like,
- [11:51]
B
it all feels newness.
- [11:53]
C
So then it goes into days or weeks of emailing. And sometimes that correspondence is 20 designers, sometimes that correspond is 50. It's like a very deep process.
- [12:04]
B
Wow. So you do a wide edit.
- [12:07]
C
I do not believe in fillers at all.
- [12:10]
B
Got it.
- [12:10]
C
After everything comes in the office, I usually edit one or two racks out of things because you see something in image and then you get there like, it's this material. It was cut like that. When people do their editorial lookbook, it's like such smoke and mirrors. And you get the piece and you're like, this is that like, pass. Especially if you're shopping for vintage. Like, one dealer might have three pieces you want. I can't go to fitting with three pieces. And then it's another dealer, they have four pieces, and then another person has two pieces and another person has four pieces. You're piecing that all together and it builds up to a very big conversation.
- [12:39]
B
When you have a press tour and you know that you have like whatever, 10 different things, how many looks are you actually preparing for and what is that process like?
- [12:47]
C
Well, we always over prepare because they add dates. Like, they're always gonna be like, oh, we're just gonna add like this E Interview, you know, we're like, we're gonna add this talk show. And you're like, well, don't worry. We packed extra looks. We always like to think ahead that way. You know, when we did Daisy's press tour, like, we always had extra looks, and there was four big carpets, and we didn't know which look we'd wear to each carpet. But, like, in that kind of moment in that city, we'd be like, okay, this feels right for this. And then for some reason, like, they. The backdrop or, like, the title would be in the same color as the outfit she was wearing, or she would get there, and the entire set design would be in the outfit of that color. And we were like, it was so meant to be, and we didn't even know it.
- [13:24]
B
Wait, you don't know what the background's going to be for press tours?
- [13:26]
C
You can ask. But also, like, you can't get stuck on that because we're gonna.
- [13:30]
B
Because it might change.
- [13:31]
C
Yeah. Or, like, we're just picking the best fashion moment for that person. And that moment usually is planned out, but there are either a time where we'll pivot or, like, something that we thought was gonna be, like, in this location becomes, like, a seated interview, and we're like, oh, that's not good to sit in. So then we'll pivot there.
- [13:46]
B
You know, I think that's a really interesting point. There are standing outfits, and they're sitting outfits, right?
- [13:50]
C
Oh, yeah. Got a great dress. But you can't sit in it, you know? Cause it's up to your booty, you know? Also, we, like, tighten things sometimes so much so I always make an extra hook. So when someone, like, after they do the carpet, you can open it up. Like, sometimes things will look really good to everyone else, but, like, it's not. You can't walk. You know,
- [14:11]
B
the fashion stuff that goes on behind the scenes. Is that why there's usually, like, also a second look? Is the second look more comfortable? Like, if there's an after party or
- [14:19]
C
there's like, oh, yeah. I mean, obviously for dancing. Yeah. And like, you're in a really crowded space and you have something long.
- [14:25]
B
No train.
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C
Trying to, like. Yeah, you're trying to hold your look. Or it was, like, so tight. And also, like, again, like, that same, like, adrenaline rush of wearing something new. You know what I mean? Like, you had that whole moment, and, like, it was received and everything. And now you get up and put on something fresh. It's like you're living a double life. And you have like a whole new night ahead of you.
- [14:41]
B
And it dopamine dressing and sinus.
- [14:43]
C
You know, it gives you like a new little, like, boost. So I'll always tell my clients, let's do multiple looks. Relax, relax. And I'm like, we could do a change. I will meet you there. And we could do a change. I know you will swear they would all say that about me.
- [15:00]
B
Hey, who?
- [15:01]
A
What Wear listeners? People have been talking about selling on ebay a lot lately. And honestly, I get it because we all have those things. The jacket from a very specific phase, the lamp that only worked in your last apartment, the pan you bought for the version of yourself that was definitely going to cook more. And from what I hear, selling on ebay is actually really simple. It's basically just a few photos and suddenly the stuff that's just been sitting there has a chance to find millions of buyers who are genuinely excited to have it. Find what you love, sell what you don't on ebay.
- [15:38]
B
Talk to me a little bit about the process of working with clients because obviously there's synergy, there's taste that you guys share. That's why you work together. That's why you have long term relationships. What do you do if someone is more directional about something or you don't like something, or they love something in a different way? Like, how do you balance that?
- [15:55]
C
I like to take someone's personal taste and vision and then see it through my eyes. And we completely collaborate on, like, who they are. You have to have that connection for me for it to work. We get excited about the same stuff. And so often, even now in my career, I keep having these, like, aha. Moments where I look and I'm like, that piece that stood out to me also stands out to them. And that's how I know that, like, that connection is there. But if someone's in between two looks that they love the most. Right. If they're like, I'm obsessed with both of these, like, what should we do? I always say, like, this is your moment. This is your life. Like, you need to sleep on it. And like, what do you want to look back at yourself wearing? I am just there to support them in their moment. I'll tell you. Like, this says this and that says that.
- [16:35]
B
Yep.
- [16:36]
C
But I always, like, at the end, it's your choice.
- [16:39]
B
Do you ever have, like, last minute changes?
- [16:41]
C
I just got to work on a presser with a client and we had like six looks for the two looks, and we were just waiting to see what she felt that morning. It's not that. Like, it's not confirmed. It's just like, we've got two amazing things, and it's a great problem to have. Usually they decide before hair and makeup.
- [16:57]
B
Talk to me about vintage and how that plays into your strategy and how you find some of the incredible archival vintage pieces, designer pieces that you have discovered over the years.
- [17:08]
C
Yes. Remember that there's Runway looks, which are all one of a kind, and then you have vintage that's one of only, because it could be 20 years old, and maybe only one or two are being floated around. There could be a brand that I love, and I can open up their season, and I'm like, there's not one select for me here, because it's just not the shapes or the. That I'm looking for right now. And what's really nice about vintage is that a. You can tap back into a different decade and a different time, and also you go back to that level of exclusivity again. You know, you're having a one of piece, and that goes back to, like, that feeling as a child of just being really unique.
- [17:40]
A
Yeah.
- [17:40]
C
You know, whether it's a Runway piece or a vintage piece, you're really working off of, like, a one of a kind opportunity. And that, I think, feels really special in itself. I have dealers all over Europe, Australia, all over the United States. Sometimes we're picking up, like, you know, probably $50,000 worth of, like, John Galliano off someone's porch in Tennessee. Like, it's just. We get it from all over. You know, I have all these guys in London I work with. Paris, Berlin. It's all over.
- [18:05]
B
Do you have, like, hey, if you see this archival, like, Galliano from this.
- [18:10]
C
There is one Sarah Burton McQueen dress that I. I'm obsessed with, and I've always been obsessed with. And every once in a blue moon, I'll, like, ask people. I'm like, have you ever seen this? Have you ever seen this? Like. Cause it's somewhere someone hasn't. She's somewhere.
- [18:24]
B
You'll find it someday.
- [18:25]
C
Oh, I hope so.
- [18:26]
B
Do you ever get to go behind the scenes, into the designer archives?
- [18:30]
C
Oh, my God. Yeah. And every time you go there, they're always like, don't judge us. It's a mess. That's like, the first words out of, like, everyone's mouth, because the front of house is like, yeah, I probably shouldn't, but I got to, like, go through this catalog at Gaultier's Paris showroom. I was on this, like, green and black Old, old screen because I'm close with them. And I was like, I gotta find this like, magic moment. She was like looking around the room, like making sure no one saw me. And she's like, we have never let anyone go through this database. I got to work really closely with Givenchy. When we pulled out the archives for Kendall's Met dress, it was in a museum and we were able to like go deep into the archives for that. You know, it's been, there's been a lot of like, pinch me moments. I remember being in Milan one time for a photo shoot and you know, thinking back to my 20 year old self, like partying in Europe to like I'm here on business, like as a grown businesswoman and like I remember like I shed a tear. There are definitely moments where I'm like living my dreams, you know, and like
- [19:33]
B
to be able to get to have that level of trust with some of the houses where they will let you come in and look at some of that stuff that like no one gets to see unless it's in a touring exhibition is ridiculous.
- [19:44]
C
We can't do without each other. We're all in this together. We all have the same goal. We're all here to make beautiful art and we should all be so kind to each other and supportive and yeah, I do feel really lucky. I think you get what you give.
- [19:56]
B
Okay, so summer is upon us. We just had Coachella, which I feel like is the ultimate Runway for sunglasses. That's one of the number one things that our who wear audience likes to buy. Do you have any specific, specific shapes or frames or styles that you're really loving for spring and summer?
- [20:13]
C
I am always like the long rectangle girl. Whether it's like a thick frame or a wire frame, vintage, new, whatever it is. I just love that. I think it like pulls the face and I probably deep rooted in like a 90s look. But even when the trends have gone like really big in 70s, I still just really love like a rectangle.
- [20:32]
B
I have a pair of 90s Gucci sunglasses that were my first designer piece that I owned.
- [20:37]
C
Oh, love that.
- [20:38]
B
That I got on an airpl of all things. I feel like I need to lend them to you because I feel like you would get a kick out of.
- [20:43]
C
Well, Gucci, that's one of my favorite shapes. Gucci has like this little rectangle one, the first designer thing that I ever got, but I stole it from my mom's closet with this Fendi baguette.
- [20:52]
B
Yeah.
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C
And it's like pink, which I'm not even a pink girl, but it was just so special and interesting and, like, you'll never forget your first designer thing.
- [21:00]
B
No, not at all. I still have my very first self purchased Marc Jacobs bag. Love that I bought with my, like, very minimal Elle magazine assistant salary. Like, still hold on to that. What about color combinations? Anything that you are really liking for spring and summer?
- [21:18]
C
I always have love an all white look, and I love red and brown and baby blue and yellow. And I know that color palette's been happening for a minute, but I'm still on that train. Even, like, your color of your sweater, like, a little bit of a weird green, Pukey green. Like Kermit Green. Yep. For me, it's like a true run.
- [21:36]
B
Yep.
- [21:37]
C
And then like, a chocolate brown, baby blue, baby yellow, and then all white.
- [21:44]
B
Pinky green.
- [21:44]
C
Pinky green. Yeah. Those are good colors.
- [21:48]
B
Talk to me about swim. Do you have any favorite designers? Do you have any favorite silhouettes?
- [21:51]
C
I think it's always different, like, what works on your body and what you like. Like, I love, like, a French cut bikini string. You know, like, super sexy and barely there.
- [22:01]
B
Naomi Campbell, Kate Moss photo from the 90s where they have super soakers and
- [22:06]
C
they're, like, in little tiny strings. Yeah, I know exactly what you're talking about. But for me, I really, like, need some support. So I. I think a one piece is, like, super sexy. I really do. Especially when it's, like, French cut. So, like, Norma Kamali forever and Monday Swim.
- [22:20]
B
I knew you were gonna say Monday.
- [22:22]
C
I like them.
- [22:23]
B
So talk to me about shoe trends.
- [22:24]
C
I've always loved kitten heels. I. First of all, I think that they're so cute. Second of all, you have the confidence of the height of wearing heels.
- [22:33]
B
I mean, I'm wearing one more.
- [22:35]
C
I'm wearing, and so I love a kitten heel. And I think right now they have been having a moment for a little bit. So I'm really proud and happy for them because people are embracing them. But I think it's like the perfect mix of, like, getting your heel, like, elevating your look, but also being really comfortable.
- [22:50]
B
I call them bitchy little heels because I feel like there's something fundamentally kind of 80s about them where it's just. You're like, yeah, I'm just gonna go walk around in my bitchy little heel.
- [22:59]
C
No, it's great. I love a kitten heel.
- [23:01]
B
What bags are you into right now?
- [23:03]
C
So if you look at my bag wall, I usually invest in, like, a black bag, which is so silly, but it's like What I wear the most, my big bags that I've been using every day is this. It's here with me now. It's like this big Phoebe Filo rectangle bag. And then like the Marlo bag from the Row, and then my small bags. I love the little rodeo bag from Balenciaga and.
- [23:22]
B
So good.
- [23:23]
C
Yeah, I have it big and small, and I use it all the time. I have a vintage Hermes bag from my grandma that my grandma bought for like, something like $230 back in like, the early 80s. Something like that. And it's like, it's so incredible. Maybe it was a thousand dollars. I'm getting it wrong still.
- [23:38]
B
Who cares?
- [23:39]
C
Something like crazy like that.
- [23:40]
B
Yeah, like, for that.
- [23:41]
C
Yeah. And it's like a big bag. And then there's this new, like, little really minimal skinny strap Jill Sander one that I actually wear a lot. But they're all just like, simple, clean bags that I'll use forever. I have, like, this whole section of, like, vintage Fendi baguettes. But like, every time I go put them on, I'm like, I'm not this colorful girl. So I end up not wearing them and using the same bags, like, all the time.
- [24:03]
B
Well, there you go. I mean, still price per wear. You got it.
- [24:06]
C
Yeah, girl. Math.
- [24:07]
B
Exactly. Talk to me about accessories as someone who knows a lot about them and has your own brand.
- [24:12]
C
Oh, yeah. I mean, I really love accessories. Like, even when I got dressed today, like, this is very uniform for me. I would have probably worn this on the podcast three years ago. This is, like, so uniform. But I think what finishes that off is your jewelry. I, like, changed my necklace, I changed my watch, and I put that on, and then I was like, okay, now I'm dressed. I think that it just adds this, like, completing touch to your look, same way that sunglasses do. I just think that, like, really good earrings. Like, even when you get dressed and you're fitting, once you add the earring, it's like, okay, it's done, then it's done. Yeah. And I think that jewelry just has this way of making sure that you feel like you're polished and complete. And the story is told. I'm not like a. A bracelet person for the carpet or for an event, but in real life, like, I always have my bracelets on. I just love.
- [24:58]
B
Why not for the red carpet or an event?
- [25:01]
C
No, I don't like that. I like. I love in styling, I think things should not be symmetrical. But something about the bracelet not being symmetric, like, just bother. I don't know, I don't like bracelets on when someone's dressed up.
- [25:11]
B
I'm gonna go look at your clients now and see about that. I love. That's so interesting.
- [25:15]
C
We do earrings sometimes even no rings. Like, we do earrings always. And then sometimes a necklace, sometimes like a ring, some rings, you know, Interesting, but just so the hands don't feel bare. Not because I, like, needed it.
- [25:28]
B
So, like, if it was up to you, you would say no ring or the red carpet.
- [25:32]
C
Yeah, just earrings. Let the person shine. Do you know what I mean? Like, you start laying all this stuff on and then you become distracted.
- [25:38]
B
You know, you're like, cool that you have $5 million worth of diamonds on, but, like, let's actually see you and not just the diamonds.
- [25:45]
C
Like, hair and makeup does so much already. You know, there's a lot going on.
- [25:48]
B
You're also the creative director of Joe's Jeans. I just recommended one of your trench coats. I love that. So fabulous. Do you have any favorite denim styles or silhouettes?
- [25:57]
C
Right now I'm like, living in the barrels that we made that's called the Bowie. And then there's this other, like, relaxed cargo barrel that I'm literally wearing three or four times a week. They just, like, shape you, you know what I mean? It's like the styling without having to style because it's just like, it gives a good silhouette. And we made this jean called the Margot that's just like a little bit of stret, high waisted, straight leg, your everyday jean classic. Those are the two that I've been wearing the most.
- [26:22]
B
When you're working with clients, do you ever have those moments where you know that you like something but you're not really overthinking it? And then suddenly it becomes like the Internet goes crazy and it becomes a major sensation.
- [26:31]
C
Hailey and I will just be making looks and, like, riffing off each other and, like, not think twice about something. And there was a time where she, like, cut her hair and, like, the look that she was wearing, it just went like, absolutely viral. Yeah, A lot of times it's like the simplest thing that will just, like, make the biggest impression. Or if I'm looking on Pinterest, there's some moments that get replayed so often, and I know that they're really impactful to the storytelling of the fashion business.
- [26:55]
B
Can you give me an example?
- [26:56]
C
I mean, when she wears her jeans, like, anywhere I go, when people talk about, like, the jeans that Hailey's wearing, I mean, she is fully affecting the trends, this culture, you know, like, the way that we pop off jeans and a Chanel jacket. Like, it really says a lot about how to make something from the Runway wearable and, like, where fashion is going and what our messaging is.
- [27:15]
B
Okay, lightning round. What do you think is the it accessory of the summer?
- [27:19]
C
I mean, flip flops, because everyone's still on board.
- [27:22]
B
Do you have a favorite flip flop?
- [27:24]
C
You know what I'm going to say?
- [27:25]
B
The row. Yeah, of course. Okay. Favorite custom look you've ever done?
- [27:29]
C
Custom. I would probably say Bruno's Versace. The atelier white dress that we did, it was a deep dive into their archives. I found a silhouette that I really loved. We did some iterations on it. They came back with sketches. She lives in Brazil, so we just weren't able to have a fitting until the day before. Talking to Italy, waking up through the night, getting updates, seeing it on the mannequin. And when it came, we tried it on. Like, both of us were just, like, the construction was just so beautiful. It just felt like, again, one of those moments when you're like, I'm living my dream. Like, I get to work with Versace atelier to make this beautiful gown, and then she brings it to life in the most magical way, and you're like, this is everything.
- [28:11]
B
Yeah.
- [28:11]
C
You know, Ugh, I love it.
- [28:12]
B
Okay, last question, which I asked all of the stylists who appear on this show. Who is a stylist who's working today that you would like to give kudos to or who do you think is doing really exceptional work?
- [28:23]
C
Oh, my gosh. Well, Pedro, who works with Bruta in Brazil, every time a look pops up and it's, like, perfect if it's his, he just really uses clothing as an art form. The shoe, the earring, the pose, the hair, like, it's always just, like, fleshed out perfectly. And I'm always messaging him being, like, killed it. It looks so good. Love it. I'm always messaging. He knows I'm his biggest fan.
- [28:44]
B
Danny, thank you so much. I know that you don't do a ton of interviews like this, and I really appreciate you taking the time. I know that our audience is going to love hearing all of this from you, and I personally am so, so honored. So thank you so much.
- [28:58]
C
Thank you so much. It was awesome.
- [29:07]
A
A huge thank you to celebrity stylist Danny Michelle. Make sure to subscribe to our show wherever you listen to podcasts so you don't miss an episode. And while you're there, I'd also be so grateful if you would rate and review us. You can now watch all episodes of the POD on our new who what where? Podcast YouTube channel. So please subscribe and check us out there. If you have any guest suggestions or any other feedback, find us on social at 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 Grace Ingram. Our audio engineers are at Glen Canyon Audio and our music is by Jonathan Leahy.
- [30:01]
C
Sam.