Stylist James Yardley on Dressing Heated Rivalry Star Connor Storrie, and Their First Met Gala

Summary

The Who What Wear Podcast

Episode: Stylist James Yardley on Dressing Heated Rivalry Star Connor Storrie, and Their First Met Gala
Host: Hilary Kerr
Air Date: May 13, 2026

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Episode Overview

In this lively and insightful episode, host Hilary Kerr sits down with renowned stylist James Yardley to explore his journey through fashion, his approach to dressing clients—particularly the meteoric rise of Heated Rivalry breakout star Connor Storrie—and the behind-the-scenes process of crafting iconic looks for events like the Met Gala. The conversation weaves through Yardley's early days, philosophies on menswear vs. womenswear, his dynamic client relationships, and the realities of brand ambassadorship, all peppered with candid stories and industry wisdom.

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Key Discussion Points & Insights

1. The Met Gala Experience (00:10–02:19, 28:12–34:30)

• Intensity of the Met Gala:
  James describes the Met Gala as the "fashion Super Bowl," a bigger, more creative event than even the Oscars, requiring looks that will resonate for decades (00:25).
• Preparation & Pressure:
  Yardley began planning three months in advance, creating a detailed PDF drawing inspiration from Greek sculpture and classic art for Connor’s look (28:30).
• The Brand’s Vision vs. Creative Direction:
  Collaboration with Saint Laurent was key; although Yardley had a strong vision, the final look resulted from balancing the brand’s signature style, the Gala theme, and Connor’s own presence (30:03–31:39).
• Revealing the Look:
  The last-minute decision to remove the blazer for a dramatic effect made the look both thematic and memorable.

  "Once the brand gave me clearance to take the blazer off reveal, I was like, this is something we can work with." —James (32:24)

• Team Dynamics:
  Preparation is collaborative but fun, with a tight and supportive team atmosphere on show day (34:47).
• Collective Reaction:
  Hilary notes the "collective gasp" from editors watching Connor's Met Gala look, calling it "stunning" for its perfect balance of masculine and feminine elements (33:00).

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2. James Yardley's Background and Stylist Philosophy (02:29–06:15)

• Origins in Photography:
  Yardley began in documentary photography in London before interning at Attitude magazine, which led him to styling (02:40–03:30).
• Early Styling Lessons:
  Honing his craft under a fashion director, Yardley observed styling for high-profile clients like Kylie Minogue and Nicole Scherzinger, emphasizing the glamour and technicalities of both menswear and womenswear (03:38–04:16).
• Tailoring Approach:
  • For women: "Honor the body."
  • For men: "Honor the waist." (04:54)
    He stresses fit, the importance of jacket and pant proportions, and tailoring for individual body shapes.
• Common Menswear Mistakes:
  Ill-fitting pants and incorrect sleeve lengths stand out as frequent pitfalls (06:04).

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3. Working With Clients: Hannah Waddingham & Connor Storrie (06:38–13:43)

• Client Discovery Stories:
  Yardley’s clients often come via word of mouth, as with both Hannah Waddingham ("Ted Lasso") and Connor Storrie, crediting connections like Nick Todisco and Warren Alfie Baker (06:51, 12:00).
• Press & Method Dressing:
  Yardley admires intentional method dressing, noting only some stylists and clients (like Zendaya's team) can truly pull it off (08:09). With Hannah, he notes ongoing brand challenges despite her fame and the importance of starting with supportive designers (08:59).
• Color Experimentation:
  Hannah’s willingness to embrace bold and sometimes unusual colors (lemon green, purple, red, pink) is facilitated by her open-mindedness and trust in collaboration (09:21–10:48).

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4. Connor Storrie: The Meteoric Rise (13:19–28:12)

• Early Fittings & Chemistry:
  From the first, unexpectedly long fitting, Yardley identified Connor as a creative, collaborative partner—not overly focused on brands but on the right fit (12:58).
• Navigating Sudden Stardom:
  With Heated Rivalry’s success, brand opportunities exploded "overnight," going from a few racks of options to "1.89 racks of the best clothing in the world" (13:43–15:00).
• Stylistic Influences:
  Both share an affinity for old Hollywood menswear, resulting in signature looks with high-waisted trousers, strong tailoring, and subtle twists (16:25–17:31).
• Developing Signature Looks:
  • Golden Globes: Immaculate tailoring by Saint Laurent, complete with a "Bird on a Rock" Tiffany brooch and sunglasses—a blend of polished, rock-and-roll, and dandy flair (17:56–21:17).
  • SAG Awards: A daring oversized blazer paired with a Tiffany choker (21:39–22:12).
  • Vanity Fair Oscar Party: Sheer turtleneck, jewelry-forward styling, and bold accessories (24:10–24:49).

Notable Quote:

"I've never seen a face that can pull off any style of sunglasses until I met him."
—James Yardley (20:40)

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5. Brand Ambassadorship and Industry Realities (25:01–27:05)

• Exclusivity & Flexibility:
  Yardley explains how strict brand contracts shape red carpet choices, particularly with Saint Laurent and Tiffany & Co. There’s often confusion among fans about repeat brand visibility—"It's business. Fashion is a lot of business also." (25:47)

• Mixing Emerging and Major Brands:
  He enjoys spotlighting smaller or in-transition brands when possible, citing the impact of Connor wearing an Entire Studios chartreuse coat or a Gap x Victoria Beckham piece (27:05–28:12).

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6. Collaboration, Color, and Creative Process (26:28–28:12, 30:03–32:20)

• Color Conversations:
  Color choices with Connor are driven by experimentation and mutual openness, not trend-chasing or spectacle (26:28).
• Creative Inspiration:
  The Met Gala look drew from Greek mythology ("Antinous... often depicted as Dionysus") and art history, but always balanced with respect for the brand’s vision (28:58–31:32).

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7. Team Dynamics & Personal Reflections (34:37–41:31)

• Atmosphere on Big Event Days:
  The mood is "organic," supportive, and high-functioning, with James thriving under last-minute challenges (34:47).
• Team Shout-outs:
  Repeated praise for publicist Larissa, manager Nick, and legendary groomer Candice Burns for their crucial roles.
• Personal Fashion Regrets:
  In response to a surprise audio question from Connor Storrie himself, Yardley confesses embarrassment over past skinny jeans and an oversized acid-wash denim jacket ("You look insane. Like, why are you wearing that?" –36:38).
• Stylistic Admiration:
  He names Warren Alfie Baker and Rachel Zoe as personal icons for their meticulousness and taste (41:04–42:10).

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Memorable Quotes

• On Method Dressing:

  "If you are like Zendaya's stylist or Margot Robbie's stylist, those two get it perfect. That's how you do method dressing. It has to be a commitment. You're either in or you're out."
  —James Yardley (08:14)

• On Collaboration with Connor:

  "We just checked it. He has a real knowledge for how it all happens... He just wanted the right fit. I immediately just knew he was a real joy to work with."
  —James Yardley (12:58)

• On Client Relationships:

  "Before we do anything, we're having fun while we do it... taking it seriously. But we're having fun."
  —James Yardley (35:42)

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Key Timestamps for Major Segments

• 00:10–02:19 – Met Gala exhaustion and significance
• 02:29–06:15 – Yardley’s career path and philosophy
• 06:38–13:43 – Celebrity clients and approach to color
• 13:19–15:02 – Connor Storrie's rise and brand engagement
• 17:56–21:17 – The Golden Globes look deconstructed
• 24:10–24:49 – Vanity Fair Oscar Party styling
• 28:12–34:30 – Met Gala preparations and team dynamics
• 35:57–37:20 – Surprise voicemail from Connor & fashion regrets
• 41:04–42:10 – Admired stylists and closing thoughts

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Final Thought

James Yardley’s conversation is both a masterclass in the art and business of styling and a revealing look into the genuine relationships, creativity, and sharp intuition that make for red carpet magic. Listeners will come away with a deeper understanding of what goes into iconic fashion moments and the energy that defines today's fashion world.

Transcript

[A]

Foreign.

[B]

Welcome to the who what wear? Podcast. I'm your host, Hilary Kerr, and today I'm sitting down in studio with celebrity stylist James Yardley. James has been styling for years, working with clients like Alex actresses Hannah Waddingham and the amazing Selma Blair. His work has recently reached new heights after taking on heated rivalry superstar Connor Story as a client. Today, James joins us to talk about his and Connor's first Met Gala and everything that goes into dressing a rising star. It's all coming up on who, what, where. Well, James, welcome to the pod. I'm so excited to have you here, especially because the Met Gala was just two days ago. Are you exhausted?

[A]

I am, I am.

[B]

Are you flying?

[A]

I'm somewhere in between the two. I'm very tired, but also sort of like, it was something to tick off the bucket list. So I'm really proud that we did it. And also, just like, us as a team, including, like, his manager, his publicists, like, my assistants that I've worked with. His incredible groomer. Like, we've all been doing lots of big events.

[B]

I mean, it's fashion Super Bowl. It is the biggest event. I think this is a bigger event fashion wise than the Oscars by Country Mile, because oftentimes folks are dressing for, how will this photo look in 50 years? Like, this is, you know, sort of the way that brides don't generally take a whole lot of risks.

[A]

Yeah, of course.

[B]

It's like a classic event, whereas this is one. I feel like there's a lot more designer point of view, which is interesting and fun, and we can talk about that.

[A]

But.

[B]

But also, it's not so serious, like, serious business raising money for an amazing institution like the Metropolitan Museum of Art and the Costume Institute. But I feel like it can be more playful and inventive and interesting as well, versus some of the more traditional events, in my opinion.

[A]

I think you're right. Especially, like, when I was watching it, I was like, oh, you really don't know what you're gonna get next. You could just get a very simple outfit, or you could get something that is really a work of art, and

[B]

I think that's literally. Or you can get Madonna standing out there with five siren full show.

[A]

She knows how to deliver.

[B]

That is a moment, to put it mildly. Okay, so. But before we get into all of your work, I would love to hear a little bit about your background. We were chatting before, so I know little bits and bobs, but you worked in photography, correct?

[A]

Yeah, so my degree was in photography, which I studied in London. Past that. I believe I got a first, but it was a long time ago, so I don't remember now, but that's a.

[B]

We'll see. It's the best.

[A]

Best of the best. And I really did love it. I did fashion, but I also. My big thing was documentary photography. I documentary. I assisted photographers, and it was a horror show. I think it can be just a very cruel landscape in terms of assisting. So I just sort of dropped the idea of ever being a photographer and, like, couldn't even really tell you how to use a camera anymore, I don't think so. Money well spent on that degree.

[B]

Well, you make really beautiful photographs on the other side of it. Right?

[A]

Exactly right. So I went on to intern at Attitude magazine there, which was especially, like, when I was growing up. It was like the ultimate sort of gay fashion lifestyle magazine in the uk. So I interned there in the day, ran to my bar job at night.

[B]

How did styling come about? How did you get started? Because obviously we have some famous clients to talk about. But what were the very beginning days of it like?

[A]

I think it was a very different time back then. In essence, interning was still for free. You didn't get paid in anything. Sometimes you got your lunch paid, whatever. And I went into every day looking at it as just like, this is an experience, a very sort of addictive experience. And then the more I worked with the fashion director who would go on to become my boss for three or four years, the more I learned just to love fashion. And I started on the menswear with the models, and that was amazing. And then he had some very famous clients. He had Kylie Minogue.

[B]

Oh, I think I've heard of her.

[A]

Yeah, just. Just casual, just the icon. Kylie Minogue and Nicole Scherzinger. He had some people like that. And so I really then started to learn the glamour of women's wear as well. And then he hired me. God, this is when you could intern for a long period of time and not be paid for a long period of time. I think I interned for four months just using the bar job to live. He was like, do you want to be my second assistant?

[B]

I always feel like menswear to me is harder because pants are pants. For the most part. Yes. Or like, the details are in a quarter of an inch at this cuff. These are like micro details. Whereas womenswear feels like it has, like, a larger palette to use. What are the most important things to know when styling? Men versus women.

[A]

With women, it's honor the body, and with men, it's Honor the waist. Oh. So this is how I look at things when I look at clothing.

[B]

Okay.

[A]

Women have so many different types of bodies.

[B]

Yes.

[A]

All fabulous. Because in particular, like Hannah Waddingham, one of my clients, she's completely fabulous, gorgeous, like old Hollywood. But to dress her, you need to understand a woman's body and to tailor it well. And I'm very big on that with her. Like, the tailoring is something I spend a lot of time on. So the details that I run through there, which is bust, hips, waist height, obviously everything. All of that I then apply to men in a slightly different way. Which is the waist on a man is incredibly important. Cause I think shoulders are tricky with men as well. Some are narrow, some are wider. The wider your shoulders are, the easier it is to create that silhouette.

[B]

Yes.

[A]

That everyone.

[B]

The upside down triangle.

[A]

Yeah. That most men really just want. Not all men have those sort of shoulders. But like, as soon as you sort the waist out, you get it correct in terms of proportion for that individual. Not where the pants tell you they should fit, where they fit on the man. Then the length, the jackets, all of those things are sort of how I go about the tailoring process.

[B]

Interesting.

[A]

I know.

[B]

What do you think men get wrong

[A]

the most ill fitting pants? And I would also say not enough attention is paid to sleeve length on blazers.

[B]

Like, you think they go too long or they go too short.

[A]

It can be either or it can be a disaster of both men and men. But sometimes, especially if you want an intentionally long cuff, like Demna's doing a lot of that with Gucci. Now, it has to be intentional because if it's not, it just looks like it's too long or you look like a little kid. Oh, God. In, like your dad's suit. It's very that.

[B]

So I have a zillion questions about your client Connor's story, but I want to talk a little bit more about Hannah before we get into his. Met Ella and some of the other looks that we need to talk about. You started working with her how long ago? Pre Ted Lasso or post Ted Lasso?

[A]

No, Season one. No, it's literally. It starts. This is actually really funny. The way that I got Hannah and Connor is very similar. I mentioned to you before, I used to do a TV presenter in the UK called Tess Daley, and she's another tall blonde. I was on a horrendous date and I really wanted to get out of this date. And I looked down at my emails and I have an email that says, oh, would you want to do this actress. She is in an Apple TV show and we think she could be right for you. And it was Warren Alfie Baker, the stylist in la, who is incredible, had said to his friend when asking about who would be good for her, Nick Tedisco, he basically said, oh, you should email this guy in the uk. So the email came from Nick and that's how I got Hannah. And interestingly, the email, the phone call came from Nick for Connor. So I owe a lot to Nick to Disco and a lot to Warren Alfie Baker.

[B]

I love it. That's amazing. So the fourth season is about to come out.

[A]

I think it starts press in June or July or so. Yeah.

[B]

I mean, it's like tomorrow.

[A]

Yeah.

[B]

How are you thinking about those press tour looks with her? How far ahead do you plan and do you feel like you have any sort of pressure for some of, like the big press tour method dressing moments that have been popular as of late, or do you throw that out the window?

[A]

Method dressing is a tricky one. I don't hate it when it works.

[B]

It works.

[A]

I think you have to be very good at it and I think also you have to go at it with intention. But I do believe that if you are like Zendaya's stylist or you're like Margot Robbie's stylist, those two get it perfect. That's how you do method dressing. It has to be a commitment. You're either in or you're out. So I think if I was to, I don't know, maybe I had a client that was in something like a Wuthering Heights or Dune, I think then I would maybe look at the idea of it if the client was also into it as well. Hannah's a tricky one because the fashion industry is what it is. Even with all of her fame over the years and how amazing the show was, I still struggle to get brands involved to this day, despite all the

[B]

awards and all of the acclaim and all of the love and how beautiful she has looked.

[A]

Exactly. And it's so unfortun that not enough designers get behind the actual shape of a woman. So I really start from brands that have supported us over the years. Elie Saab, Stella McCartney. That's where I start. And I see what they have and then I work from there with her. Yeah. And she's also sort of like, opinionated. She loves what she loves the same as probably all of my clients have ever had. There's a collaboration with everything we do.

[B]

The way that you have used color with her over the years, has really delighted me. How do you get the color right? Because she has shown up on red carpets in some really, like, what would be considered challenging colors for other folks. But she looks phenomenal.

[A]

Yes.

[B]

Is that requiring, like, a client who's open? Is that just, like, the luck of the draw? How did that work out?

[A]

I remember the moment I met her. I walked into her room at the Rosewood in London. This was, like, a great hotel. I walked in the night before she won her Critics Choice award, I think it was. So that's how last minute this was. And I had made the mistake of thinking, cause she was tall, she would want kitten heels. And because she was from the West End, she would be like, almost sort of cabaret. And, like. And I read her completely wrong. And she was quick to address that with me, which I laugh. Like, I love a woman who says what they mean. And so she was like, no, you know, I'm tall anyway. I want to be.

[B]

Let's go.

[A]

Yeah, exactly. So I've never seen a so Kate that she's turned down.

[B]

So it's like, that is a heel.

[A]

That is a heel. And also, you have to be so elegant to walk in it. Otherwise you look like a drunk. And she walks like a ballet dancer in that shoe. So, yeah, I immediately sort of, like, got across what she liked. And then when it came to the color, we work a lot with her eye color. Very green eyes. So she likes things that are, like. Even in a lot of ways, like pastels. Like, we've done lemon green, we've done purple. But then she, for some reason, can also do, like, bright red.

[B]

Yes.

[A]

She's not afraid to play with the color palette, and I love that. So. But sometimes we have put things on, and we're like, this is insipid. Why are we doing it? Her first Emmys dress was a horror show. Not the one she won the Emmy with. That wasn't me. That was a different stylist because of COVID I couldn't come across. But the second one, we had a custom made by a designer, I think I can say, actually, it was Dolce and Gabbana. And it was horrible. It was just. The color just didn't suit her. And it was a yellow, which is weird. It normally does. So the pink afterwards was actually a backup dress that they had.

[B]

That was a great backup dress.

[A]

Well, she'd also had, like, spinal surgery, and that's why she was wearing trainers and things. She was a. She's a trooper. She really understands what it is to Be a star on the carpet, which I think a lot of women have shied away from in recent years.

[B]

No, she seems to embrace it, and I love watching.

[A]

She is everything you expect her to be. A Moore.

[B]

We know a little bit about how you and Connor started working together. At what point in the heated rivalry debut moment did you start actually working together? And how did you know he was the right client for. For you? For the moment? Because it is a mutual process. Like, you have to. You have to each select each other again.

[A]

I get a call from Nick Todisco. I feel like I owe Nick to disco in my life. He calls me and he's like, I have this man. He's gorgeous, incredibly talented. You need to see the trailer for the show at this point. I think the trailer was like, 20, 30 seconds.

[B]

All you need.

[A]

All you need. But then I looked at his Instagram, and he's a real creative. Like, he's done his own editorials in the past. And I was like, he's also not bad to look at, which we all know fashion brands and how they learn and how they work. Being hot helps. So I was like, let's do it. And also, I had had a lot of my portfolio with menswear, had been very exuberant, very over the top, which I love. But he was far more refined in his notes of what he liked. And so I was like, what is there to lose? And then he came to my very tiny apartment and we did a fitting, which we could have done it in half an hour, but I think it was two and a half hours.

[B]

Oh, my gosh.

[A]

We just checked it. He has a real knowledge for how it all happens. How did it get here? What was the email like? What do you put in the email? And how did you go about approaching brands? He wasn't really interested or didn't care so much about brands. He just wanted the right fit. I immediately just knew he was a real joy to work with. I think that's the best way of putting it.

[B]

Well, it's been a very fruitful relationship, to put it mildly. I'm curious about what it's like working with someone who goes from relatively unknown to, like, couldn't be hotter. Phenomenal superstar making guest appearances on Saturday Night Live, presenting at awards shows, going to the Met Gala, like, overnight. Did it feel like doors just flew open?

[A]

It was insane. I actually can't explain it to you. Like, I say, like, I'm. Like I mentioned Warren, Alfie Baker. I'm incredibly close with him. I look to him for like, any kind of information, but also to like, vent or blah, blah. He's just the best sounding board. Exactly. And also, like. Cause he is, I think maybe like one of the best, if not the best menswear stylist in the world. When I chat to him, it's often like. Cause I am looking for his knowledge. And I said to him at the time, I was like, I've never experienced, like, you know, we didn't have a bad reception the first time. There was brands like Simchi, who was very sweet to us. Really nice brands. There wasn't a bad selection there. But what was interesting was we got a lot of emails that said, not know, just not now, which I liked as well. Like, and I said that to him. And, you know, Saint Laurent was in there, so was Gucci. Louis Vuitton was the same. So that first fitting was still three racks of clothes for him to go through, but it wasn't what it would become, which was a 1.89 racks of what I can only describe as the best clothing in the world. It was a dream and I. And it was like nothing. I don't think anyone else I've spoken to could compare it to. Like, there was. No one had had a similar experience

[B]

in such a. I mean, the velocity of it.

[A]

Yeah, it was meteoric. It really was.

[B]

How many episodes in before it felt like the entire world just fell in love?

[A]

It was pretty instant.

[B]

Episode one.

[A]

Yeah, I was gonna say, I think it was like, when I got him, it was still on Crave. The original Canadian.

[B]

Oh, okay. Yeah, it was on the Canadian.

[A]

Yeah. I'm third or fourth on his team. I think it was Nick, Brad, Larissa, and then me. So like, I was. Stylists don't normally come in that early. And then it got signed to hbo and I think the first two episodes came out together maybe. And then. Yeah.

[B]

And then right before Thanksgiving.

[A]

Yes. There you go. Did you also love the show?

[B]

Not that I know. Not that I read the book.

[A]

Ah.

[B]

I am a old school fan.

[A]

Interesting. I need to actually get into them because obviously there's more to come.

[B]

I remember seeing online every single gay friend of mine who's a tastemaker was like, you must watch as they. And we're off.

[A]

Outside of the styling, I always say to people, like, you'll love one, it's addictive. Two is when you suddenly, like, you're like, wait, these characters have depth, gravitas. Then three flips you on your head and you have new characters. And then four is like, incredible. And five, I genuinely say to people, is the best television I've ever watched.

[B]

I mean, Rotten Tomatoes agrees with me.

[A]

I mean, I can't explain it. Like that last scene, and I made a point of like, he would be like, I'll send you the next episode. I'd be like, no, I want to

[B]

experience it with the world.

[A]

Yeah. With everyone else. So I think it is. It's just a lot of joy, that show, isn't it? And talent, so much talent.

[B]

It's wonderful. I love it on a thousand different levels. I think about, like, sort of the earlier press moments. Pinstripes, higher waisted trousers, strong tailoring. Like, how did these early elements become so central to his red carpet looks?

[A]

I think the fact that we are aligned with one another is pure luck in terms of maybe it was something in the universe that threw us together. Because he has similar taste levels that I have with Hannah and other clients as well. I reference a lot of old Hollywood. I do it with Hannah with like the Marilyn Monroe esque ness of the figure. And with him it's the same thing. It's old Hollywood with like a twist that's modern. But like, again, when I was saying about I always honor the waist, like people might have noticed with my tailoring, it's always slightly above where you would be where the waist would be. But that's his true waist. So then the wide leg pants, the pinstripes, it's very early Hollywood. And the same with the blazers and the shirts. We've experimented with lots of different silhouettes that are very similar but always have a tweak of something else.

[B]

I love the moments of surprise.

[A]

They're such a delight. And that was what happened with the Golden Globes and the actors Awards. It's not called the screen actors yet.

[B]

Whatever, they're the Sags.

[A]

To me, everyone's having the same problem with this. It was just luck on that level that we've met and we have the same sort of aesthetic.

[B]

That's very helpful.

[A]

But then we push one another.

[B]

Yeah.

[A]

Which again, similar to Hannah, it's having that conversation with a client that it's

[B]

one plus one makes three.

[A]

Exactly.

[B]

So let's talk about the Golden Globes look. So I mean, that was immaculate tailoring. And of course Saint Laurent is going to bring the heat in that way.

[A]

Yes.

[B]

But it felt like such the right brand and the right moment. And then I love the fact that he was in a boot, right?

[A]

Yes, he was.

[B]

And then sunglasses.

[A]

Yes.

[B]

And then a Tiffany Co.

[A]

Bed on the rock. Yes.

[B]

And then the shaggy hair, which I felt, like, took it to, like, a very Rolling Stones adjacent moment too, and also made it so it's like proper and rock and roll, but also a little bit of dandy. It was so good.

[A]

When we first started, the problem I had with too much clothing was, like, everyone wanted the golden clothes. The team at Armani, who I adore, wanted one thing, and I gave them another. And Louis Vuitton wanted something, and Tom Ford and Bottega both wanted the Seth Meyers. And in the end, Bottega took the Today show, which, by the way, is like, the most lovely thing for a brand like that to want to take just Today show. So everyone was also understanding and wanted to be part of it. But Saint Laurent, that was a very early time where I think the ambassadorship was coming together.

[B]

But it hadn't happened yet.

[A]

It hadn't happened yet, but it was very much on its way. Also, he adores Saint Laurent. I adore Yves Saint Laurent. Like, I own a lot of vintage suits from them as well. So that sort of parlays into what I mentioned about the suiting that I like from the early Hollywood. So we went into the fitting, and they had pulled a lot of black tuxes. Very beautiful, very classic. They're very old school Yves Saint Laurent, like, they were sort of drainpipe trousers and just a very simple blazer on bow ties. And in the fitting, there just was something that I wasn't getting, and I don't think he was, like, getting either. So we started to ask for, like, other things. And they are such an accommodating team. And Annie, who is their insanely, insanely amazing pr and so chic. I mean, is there a more chic woman in pr?

[B]

She's so blonde. She's so cute.

[A]

She's just the best. I was like, is there a wide leg pant? Is there something there? And then they went away, came back, brought it in, we tried it on. I was like, this is it. But he walked out. And I very specifically remember thinking the pant was in the wrong place. And I was like, can we take it higher? And I remember feeling like everyone in the room was like, this guy is crazy. Why are we taking it higher? And then we did. We took it only an inch. That's what it was. And everyone's like, ah, yeah, because it made it about, like, the leg, that waist. And then I put a black tie on instead of a bow tie, and it just. He walked out. And I was like, this is great. And I was like, what about the sunglasses over there? And also, again, I've never seen a face that can pull off any style of sunglasses until I met him. And now he can put on the most ridiculous editorial sunglasses in the world.

[B]

It just looks cool and natural.

[A]

Just so cool. It's just. He's so cool. I love, love it. So that's how that came together. And then obviously, again, very early days in the relationship with Tiffany, the Bird on a Rock, we had three options, and we went with that one just because it felt right.

[B]

So it was a brooch moment, no matter what it was, just depending what shape.

[A]

And we had other versions. I liked this orange one and he liked the clear one, the white diamond. And then when it arrived, I was like, the smallest one is the most expensive. And I didn't know this about diamonds anyway, but it hadn't occurred to me. So I think it was 1.75 million.

[B]

Casual.

[A]

Casual. So we just popped it on and he was done. Yeah. Loved it. Yeah.

[B]

Just, of course, it's just a house, no big deal.

[A]

And the hair, I have to, like, really shout out to his groomer, Candice Burns, because she is. And you don't always experience this as a stylist. She's collaborative. You send her the outfit, she sends things back. You can what you like, and she still works with it. And to watch her work is like, she is. She's a genius. She's a real talent.

[B]

To go back to surprise and delight moments and how you take something that's very timeless and make it feel modern. You did that at the Sags, I refuse to call them actor awards. With the oversized blazer. With the Tiffany choker.

[A]

Yes.

[B]

And then, of course, we also have to talk about the sheer turtleneck at the Vanity Fair Oscar party. Talk to me a little bit about bridging the gap between what the brand has to offer and what speaks to Connor and what. How you address all of it in between.

[A]

It's a little bit of like a tightrope act. I think it's Tetris. Yes, it's definitely Tetris. It's a really good analogy of it. I knew that we were going to do something very simple. We had seen that collection in Paris while I was with him, and it sort of spoke to us how beautiful it was. And obviously, at this point, he's an ambassador for both.

[B]

Is that harder or easier?

[A]

It all depends on the event, what's available and what you need to achieve in the contracts. That's the truth of it.

[B]

I know with dresses like, there's one, maybe two. It's flying around the world. It has a million different things it has to go to. Is that the same with suits, or is there a little bit more flexibility there?

[A]

I think there is more flexibility. It's the jewelry that's slightly trickier because

[B]

of sizing, because not every neck is the same size. Right, okay.

[A]

And he's got a big neck. Cause he's muscular, so it's like. It's an interesting one to. But basically, we knew we loved that look. We looked at it on Vogue Runway. We both said, yes, it was available. So it came to la. And when I was fitting it, I know it's like, terribly. People hate when people don't wear a shirt because they're like, oh, it's tacky. Blah, blah, blah. But he put it on, and I was like, he's just so cool. The team at Tiffany, I feel for them. Morgan is a superstar, and when I speak to her, I'm like, you're gonna hate me, but I want something from the archives. She's like, probably won't fit his neck. I'm like, we'll make it work. We'll figure it out. We have these moments, but they deliver every time. They're incredible team to work with Tiffany. And so they sent a lot to the hotel. I tried on a few, but that one I put on him in the makeup chair. When he didn't have a top on, he just had a towel while Candice was cutting his hair. And I was like, it rode slightly high like a choker. And I was like, why isn't that interesting? Like, I didn't expect it, but it looks perfect. And then when he put the suit on the way.

[B]

Perfect placement.

[A]

Perfect placement. And that's where the magic happens, I think in collaborations, like between Tiffany, myself, Connor, ysl, like, that's where you create those moments. It's a dialogue.

[B]

Ugh. I love it. Talk to me about the sheer shirt. We went no shirt to sheer shirt,

[A]

no shirt to sheer shirt. The sheer shirt was from, again, the same collection. I remember him saying he loved it, and I loved it too. And we were like, we just need somewhere where we can take it where it's more edgy.

[B]

Yeah.

[A]

And Vanity Fair Oscars is obviously the after party. You can play around with it. We really wanted a lot of jewelry on the hands, and we used Tiffany and co's Elsa Peretti line, which is beautiful.

[B]

And sculptural.

[A]

So sculptural. And then he's wearing, like, a 1980s TAG watch there as well, so, like, we just casual. I've had such fun styling him. I can't explain it. That was really about fun. And the YSL team had the faux fur, and I was like, oh, maybe that might be too much. But he put it on, and obviously, not much. Not too much.

[B]

Just knows.

[A]

Just knows how to wear it. And again, love that grooming. Candice, like, the hair, as I mentioned, is a character, so the fact that she can sculpture that in a way that, like, transfers from editorial to red carpet. Incredible.

[B]

Working with a single brand for certain red carpets is amazing. I assume that that is not fully exclusive at all times.

[A]

I've had clients in contracts before. One of my clients was an ambassador of Annie Paris, and he was also associated very closely with Dior when Kim Jones was there. I've always had, like, contracts to work with. Obviously, the contracts are smaller or larger, depending on what the actual agreement is. But basically, with him, it's a very tight contract. Every big event is Saint Laurent, which is a real blessing. When it's not a bigger event or something else, I can work outside of that contract. I don't spend so much time on the Internet anymore because it can be so hostile. But when I have been on, I see a real misunderstanding of, like, why he's always in Saint Laurent or always in Tiffany.

[B]

It's like he's an ambassador.

[A]

Yeah, they're ambassadors, and they obviously, you know, it's business. Fashion is a lot of business also.

[B]

This is the goal, let's be honest.

[A]

Exactly. And I think in a lot of ways, there's a lot of scruples for the idea that he's always in them. But it's like, when we do play outside of it, you know, we've done custom. Calvin Klein, which is I adored. Like, their new creative director, Veronica is just incredible. Like, there's a real dialogue happening with that brand. Louis, Gabrielle Nucci, he's worn, who's an incredible designer in Paris, who I went and looked at the collection when I was there for the Saint Laurent show. It's lovely to be in those contracts, but it definitely becomes more of a line you have to follow. But again, fashion is business is fashion. Yeah.

[B]

It feels like he is also open to interesting shades. Like, it's a mustard yellow with a khaki, or it's a chartreuse moment, or there's, like, some rose and plum together. What are your conversations about color?

[A]

Like, he has so much respect for my time. He gives me so much time. And so the colors have never been intentional other than We've just explored, like, the chartreuse coat from entire studios, which everyone sort of went mental for, is beautiful. And they are an incredible LA based brand. Like, as much as we have all the other big brands, it's nice to play around with these other brands.

[B]

You can bring a lot of eyes on a brand that might be in a different life stage in a positive way.

[A]

Yeah. And also, like, this industry's tough. Like, it's nice to not always pick the biggest brand. I mean, obviously Gap is huge, but we did something with Gap and Victoria Beckham for arriving the other day.

[B]

I saw that.

[A]

I loved that.

[B]

That was for Saturday Night Live, right?

[A]

Yeah. Well, that was like, it was just in the start, but basically, Victoria Beckham said something about him on a radio show, which was super complimentary. And as a gay kid that grew up in the Midlands in God knows what it was now, I just always loved the Spice Girls. And also her brand is Sochi and her taste level's so high.

[B]

And It's a very 90s take on Gap in a great way.

[A]

And that's where you get to explore with those sort of collaborations. The entire studio thing, it always happens organically. We try it on, if it works, we like it. We do it with the pink Saint Laurent and the green. I think we were just playing with the end pieces in the collection. We were like, oh, what would this work for? What would that work for? The yellow in Paris just felt like such a statement, but so casual. We don't delve into it unless there's intention.

[B]

Right.

[A]

I'm not into creating a circus. It's all intentional.

[B]

Let's talk Met Gala. Okay, so this was your first Met Gala? This was his first Met Gala. When you get that invitation, what goes through your head? How soon do you start planning? Did you think it was coming? Did you already have an idea in mind?

[A]

After the Globes, I remember thinking, like, it would be insane not to see this man at Met Gala. Just like, watching him pose is like. I still say to him to this day, I'm like, oh, my God. Were you ever trained professionally as a model? Like, he just gets it and it's such a joy to watch. He's like an actor in any way too. You know, there's a fluidity between him and the fabric. Yeah, and the fabric. He's in it and he's wearing it, but it's never wearing him.

[B]

Correct.

[A]

Which I love. Then Met. I think I started prep on it three months before. Oh, as long. Yeah. So I had, like, in my Mind, I was like, this is what I would do based on knowing the theme, knowing the parameters. I'm in with the brand. And then I think I did a PDF maybe six weeks before, eight weeks before, something like that. Using the past 10 years of their creative directors collections. Immediately, it's. Cause I'm British, and I have been to a lot of museums in my life, whether it was forced at school or like in my own pastime as I'm older. But I went to the British Museum a lot. There's a lot of Greek sculpture in there. Basically, I was looking at Greek sculpture, a Greek God called Antinous, who's often depicted as Dionysus, which is this Greek God that is more party theater, all of this sort of this stuff. But that's what that God is. But Antinous, very Jim Morrison, Very, very that. But Antinous was actually not a God. He became a God overnight. And so this was my structure behind the theme. And I'm aware that it's probably quite on the nose to go straight for Greek.

[B]

Well when you're working.

[A]

But when you look like that and have the curly hair and that face. And I was like, yeah, this is where I'm going. So I did a whole PDF and sent it over to St. Laurent. And I think I used a lot of references from collection, maybe three or four collections ago. There was deep reds, mustards from that particular collection, a lot of sheer material. I sent it to them, and a few weeks later, I got sketches back. And in those sketches, it was basically the house's version of what I had looked at, which was a black suit, polka dot with this bow. And I wasn't at that point, still sold. But also sketches are so difficult because they're sketches. It's not real. Yeah. So I went back with some more notes. They came back with another sketch. We signed off on that one. So there was two looks. Fast forward to a week before the Met, I think it was. We tried on the original one, which is black with the bow, And I was so pleasantly surprised by how beautiful it was in real life. I remember saying at the time, I wouldn't be mad if this was the winner, because it was stunning and not what I envisioned. Not even close in that sense, but it was beautiful. It was really beautiful. And it stayed true to the house, which ultimately, what I have realized and learned over the ambassadorship is that though you might want to do X, Y and Z, like, you have to stay true to what the house is. And St. Laurent has a clear point of view. Yeah. And it's always been that way. So I think as we got closer to the Met, we tried on the second look the day before or two days before. And it was the look you saw for the after party.

[B]

Got it.

[A]

Which is with the brown. And so we fitted that look as if it was going to be the Met look.

[B]

Oh, so you were like, it's down to the wire, then.

[A]

Well, yeah. And I think it was. Cause we were also, like, working with Tiffany, and we were putting brooches on. There was a brooch in the fabric. It was coming together very like the Greek God from my references. We played around with it. The pant wasn't quite right on that, actually. But, like, we were still, like, looking at the tailoring with the atelier. Later on that day, we came back to fit the pants. Cause they'd been redone, and we were all trying it on. And the brand, I think, definitely loved the black more. And so we've retied the black on, and ultimately that's where we went. When you are in an ambassadorship, it is ultimately about the brand and the overall theme that you work with to them.

[B]

It's respectful.

[A]

Yeah, exactly. And I think that was the end result. Yeah.

[B]

And it was stunning.

[A]

It was great. I mean, also, someone said to me, like, that man could wear, like, a plastic bag. And I was like, he totally could. But one of the things that really sold me was we were planning to always have the blazer on. And once the brand gave me clearance to take the blazer off reveal, I was like, this is something we can work with. Because though I know the brand isn't ever a costume brand. No, I still wanted a small element of the theme in there. And so once we had the blazer off and the arms was out, it was a looser, but it was still a connection to the theme that I started with. I love it. I'm happy with it.

[B]

It was such a wonderful balance of masculine and feminine, of tailoring and structure, with this billowing neckline and the halter like it's skin, but then it's also proper. It was really so beautifully done. And all of the editors were together in an office watching the live stream. And it was just the collective gasp that went up. It just felt so wonderful and celebratory. And also, you know, he has a flair for the dramatic. And so it's like the reveal. And that's also such a time on our tradition at the Met Gala to have some sort of transformation moment. And even if it was still subtle and on brand, it still happened. Very, very special. And I loved that for all of us.

[A]

Yeah, totally. And I also. It's funny when you're putting the final thing together and you're playing, like, hours before the jewelry for the after party look, which obviously for insurance purposes wasn't on the after party look because it can't go out to parties. That jewelry was really. Can you imagine? That look was really beautiful. But in hindsight, when I look at the black, I think the Tiffany jewelry worked better with that look. Like, the pin through the fabric looking like it's holding it together. And then the other brooch on the blazer, the pinky ring, which was, like, sized to him perfectly. And like the earrings, that's what I'm speaking about when I say. You are. When you're in contract with brands, that's like the best case scenario. Everything comes together perfectly in one fit. My main aim is for, like, Connor to be happy and then me to be happy and then obviously for everyone else to be happy. But as long as he feels great, and that's all that matters to me.

[B]

What was the vibe in the room like when you were getting ready? This is a big, big moment for everyone. It's iconic. Is it nerves? Is it excitement? Is it. Are there rituals?

[A]

We all get on so organically that, like, we're like chatting nonsense probably half the time. And I don't stress unless something breaks. And even then, I kind of come alive when something breaks, which is weird. I'm sure there's some sort of PTSD and my assisting will that makes me so good at that. It's just the best atmosphere. Like, you couldn't ask for a better team. His managers, Nick and Brad, are just the best, the most supportive and also incredibly nurturing with, like, him and the team. And like, Larissa, the publicist. I've never worked with a better publicist. Like, I have to shout her out in that sense. She just is so on it. But also calm, chill. And then, like I say, Connor, the actual creative part, which is Candice, myself and Connor is just really like a joy. You couldn't ask for a better job or client because before we do anything, we're having fun while we do it, taking it seriously. But we're having fun.

[B]

Yes.

[A]

Yeah. We're very, you know, we're all very grateful to be sort of doing this.

[B]

Well, I love that. I also love that we have a little surprise for you, which is we had someone send in a question for you to answer. So let's take a listen.

[A]

Gymes I hope you can tell that was Connor from the way I said gymes. I wanted to ask you a little question.

[B]

What is a fashion choice or something you used to wear personally that you look back on and you're like, what the heck was I thinking? Yeah, I love you.

[A]

I love him. He's iconic. That was not who I was expecting either, which is. Which is even better. I was like, wait, what? I just love him. He's just the best thing in the world. What's something that I wear now? I feel like I'm gonna say skinny jeans.

[B]

Oh, my gosh.

[A]

And I think it plagues us all. But now I look back.

[B]

They're back.

[A]

They are not.

[B]

I regret to inform you.

[A]

I actually listened to something with Rachel Zoe the other day, and she was like, I'm not wearing a skinny jean.

[B]

Mark my words. I feel like it's not a jegging that can die in a fire as far as I'm concerned.

[A]

But they're siblings, definitely. Or they're at least. Yeah, there's something close about those two. Fair, close cousins. I think skinny jeans is probably the thing. Oh, my God. Actually, no. I used to have this oversized acid wash 1980s denim jacket in London, and I used to go out in it like I was the coolest thing in the world. And now I look back on it, I'm like, you look insane. Like, why are you wearing that?

[B]

Oh, my God, James, I love it. I love it. I feel like if you aren't mildly mortified by something you wore in the past that you weren't really trying.

[A]

Yeah, exactly.

[B]

So before I let you go, I have a few rapid fire questions for you. Standout moment from the Met gala this year.

[A]

Other than us, I mean.

[B]

Yeah.

[A]

Cause I really do love how ours came together. I'm gonna say Kendall Jenner. Oh, interesting. Zack Posen. Gap.

[B]

Yeah. Zac Posen.

[A]

Yeah. Incredible.

[B]

I was like, I wanted to see the wings earlier in the evening.

[A]

I'm like, who didn't give that woman the wings on the show?

[B]

She's an angel. She's a literal angel. She knows how to work a wing.

[A]

Everything about her, it's like, yeah, stunning.

[B]

Okay. Favorite custom look that you've ever done.

[A]

I did a green marchesa for Hannah Waddingham. There was so much work on the corsetry. And I remember at the time just being like, wow, what a team to make a dress. Yeah. And it was again, like, because she's so tall in statuesque. It was incredible. That one ties for me with the Golden Globes. Cause that, like, even though it technically, it's not custom. Custom from scratch. I just think it is custom in the sense of, like, how we put it together.

[B]

You created it.

[A]

Yeah. And also just I feel like that was such a beginning of, like, a joyful relationship with Saint Laurent and, like, the team. I think that that's when they saw him and we saw them. And, like. Yeah. I think those are my two favorite customs I've ever done.

[B]

Biggest styling disaster you've ever recovered from.

[A]

Not too long ago. An unnamed diamond company. No, actually, I can say the name because they were great sports about it. We had a diamond watch. Oh, no. Yeah, it was a diamond watch. Bracelet from Boucheron. Basically, the clasp. Something happened to it on the red carpet. Vanity Fair Oscars, Selma Blair. And she did the carpet. She looked incredible in it. And then somewhere along the night, it fell off and. Cause it was incredibly light as well. I love your face in particular, is how I was. And basically, like, fell to the ground. And I think she didn't feel it. Cause it was so light. And then it was trodden on or something. It broke. And obviously they're big insurance things. And it was so beautiful. And Salma was so sweet about it because she's so thoughtful and caring with these things. And Boucheron were also really understanding about it. But that was a real. Yeah. Diamonds are the other thing, I'm telling you. But that was. I think that's my worst. I once had a client's skirt split when they were dancing on stage. But I was an assistant then, and I just sort of hodgepodged it with a safety pin. So I think my worst is still the diamonds.

[B]

Yeah. My resting heart rate is accelerating.

[A]

I sweat. Yeah. I was like. I remember when she told me, and I was like, okay, cool. Let me speak to the brand.

[B]

We'll figure this out. It will be fine. A look that you loved on one of your clients but would not wear

[A]

yourself all of them. I only wear black. No. I can't pull anything off my clients where I'm not cool enough. I'm not. So I have a thing about clothing. I've always worn black. I like accessories, Bags and jewelry and shoes. But otherwise, I have, like, a template which is like a black T shirt, baggy white jeans, or just, like, a clean black jean. I've always been like that. I will say I admire all of my clients for the ability to try on something that is brand new to them, maybe something that's out of their comfort zone, and then let people photograph them. And put it up. Yeah. It's something I could never do and I really appreciate them for doing it. But no, I could not pull off any of my clients looks. So let's go from there.

[B]

I don't fully. I don't buy that.

[A]

But maybe I could do the Golden Globes look because that's technically black. And also a high waisted pant. I've got long legs. Yeah.

[B]

Steak too juicy. Lobster too buttery. Okay, great. Last question. Who is your. I think I know the answer. Who is your personal favorite stylist working right now? Who do you admire?

[A]

I'm gonna say two, and you'll love the last one. But the first one is Warren. Alfie Baker. I'm obviously, I couldn't sing his praises high enough when we talk about tailoring. That is the blueprint, I think in this industry, Warren, is there's never a cuff that's wrong. There's not a hem on a pan

[B]

or the millimeters are millimeters, literally.

[A]

I remember speaking to the Brunello Cucinelli team and they were like, he's like on his hands and knees, like pinning things down.

[B]

Meticulous.

[A]

Yeah. And also the watch placement, the jewelry, like, I just have such admiration for him as not only a person because he's incredible. Everyone will tell you in this industry, everyone loves him, but just as like a stylist. I really look up to him. I think he's incredible. And I think my last one is gonna be Rachel Zoe because I only knew her in the UK as only because I knew her as a fashion designer in the uk When I got here and realized that she was this iconic stylist, when I was watching the show back, I was like, wait, these are looks I saw and didn't realize they were hers. And again, the taste level with jewelry in particular, I really admire. I just think she's very cool.

[B]

Well, James, thank you so much. This has been such a pleasure. I look forward to harassing you to come back and talk to me more about your clients over the years to come.

[A]

Any day.

[B]

It's just been an absolute delight and congratulations on all of your amazing work. You make our job at who What? Where very easy. Oh, thank you. And give us a lot. You feed us well.

[A]

So thank you. I appreciate it. Thank you. You.

[B]

A huge thank you to stylist James Yardley. 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 was podcast YouTube channel, so please subscribe and check us out there. If you have any guest suggestions or any other feedback, find us on social at who what Where? See you next Wednesday on the who what Where Podcast. This episode was produced by Hilary Kerr, Summer Hammeris and Natalie Thurman. Our audio engineers are at Glen Canyon Audio and our music is by Jonathan Leahy.