The Julie Ragolia Interview with Throwing Fits

Summary

Throwing Fits: The Julie Ragolia Interview

Date: May 4, 2026
Guests: Julie Ragolia (Stylist), Hosted by James and Lawrence

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Episode Overview

This week, the Throwing Fits hosts welcome celebrated stylist Julie Ragolia, who has shaped the looks of celebrities like Pedro Pascal, Riz Ahmed, Mads Mikkelsen, and Lakeith Stanfield. In a lively and candid conversation, Julie dives into the realities of high-fashion styling, her journey through the industry, signature chaos (literal death threats over a red carpet fit), and her passion for elevating not just personal style but the entire ecosystem—whether it’s on the runway, red carpet, or a random street in Liverpool. The episode is filled with industry insights, hilarious anecdotes, hot takes, and practical advice for anyone obsessed with clothes.

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Julie Ragolia: World Traveler & Styling Nomad

Where in the world is Julie Ragolia?

• Julie recounts her multi-city travels: "I started in Rome, then I was in Milan, then I went to London, then Paris, then London for a night...then back to Milan, then Paris..." (01:44)
• She's a die-hard Liverpool football supporter: "I went to London in order to go to Liverpool to watch football...No, PSG won, which I knew is going to happen, but I'm a diehard Liverpool supporter." (01:59)

Packing Philosophy:

• “As much as you can shove, shove it...even if I’m not going somewhere for that long...” (02:24)
• She travels with three Rimowa bags: “One trunk, one large, one small. All the metal. The small is my styling kit.” (02:46)
• On laundry: “Usually reserve for when I’m at a hotel I know I’m good to...do the dry cleaning or the cleaning. Paris, I have an apartment.” (03:04)

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Signature Style: Fit Check & Personal Dressing

Fit Check (04:35):

• Zenya linen shirt & jacket
• Hanes tank top
• Adidas Liverpool track pants
• Pierre Hardy heels ("Trying to become a heels girl. Got a million pairs but wear the same sneakers or boots from The Row all the time.")
• Oliver Peoples glasses with a subtle tint

On Closet Habits:

• "I'm someone who...has stuff that sticks out a little bit because it doesn’t fit, so that thing that’s hanging out gets worn more. I’m trying to renegotiate my closet." (05:34)
• Favorite sneakers in rotation: Issey Miyake Asics ("Not easy to have a good gray sneaker" 06:15)
• Loves juxtaposing tomboy looks with “old lady bags” for a sense of dimensionality (09:37)

On Texture:

• “I love texture...It’s just a little something that gives dimensionality to a fit—sometimes it's fabric, sometimes a mild tint on glasses.” (08:56)

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Origins: Fashion Roots & Early Influences

First Style Memories:

• Brooklyn origins: "Sportswear, definitely. Modells, Chess King in King's Plaza Mall. My first job." (06:55)
• Influenced by attraction ("It's funny how attraction to someone is always just, what, at the root of every decision we've ever made." 07:35)

Personal Style:

• “A mix of school marm, skater, old man Italian magnate.” (69:58)
• “I'm inherently confused by nature...I'm always on a journey.” (71:17)

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The Craft of Styling: Runway, Editorial, & Celebrity

Styling for Runway vs. Red Carpet vs. Editorial (22:51):

• Runway: “A six-month buildup for ultimately, what’s 10 minutes? But those 10 minutes determine so much...” (22:51)
• Red carpet: “Thinking about the place, the platform…The decisions I made as a stylist, I know how much attention it gets a film… but the film industry doesn’t understand or care how stylists are part of the process.” (24:51)
• Editorial: "A little more difficult because you often are relegated to advertisers..." (51:08)

Collaboration with Alessandro Sartori / Zenya:

• 10-year partnership, brought in at Berluti, continued at Zenya (14:50)
• “It’s working on fashion shows, reviewing collections, styling ad campaigns... just being a sounding board as much as he wants me to be.” (14:54)
• On Zenya’s influence: “Men wear more wide pants now. That’s Alessandro Sartori. He did that.” (16:54)

On Trends & Influence:

• "Imitation is the best form of flattery. Both Oscar Isaac and Charles Melton wore ‘sweater around the neck’ this week—kind of cool to see that trickle down." (17:22)

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The Celebrity Circus: Fame, Attention & Its Consequences

On the 'Star Stylist' Era:

• Prefers peer respect over public recognition: “If I have money in the bank and a roof over my head, I’m good...All the attention makes me nervous sometimes.” (19:11)

Public Scrutiny & Death Threats:

• On death threats after Pedro Pascal’s red carpet fit:
  "It was insane...It became overwhelming, like nothing was mine anymore. The media made it out to be so much bigger than it was." (29:05)
  “I commented on Twitter—you never feed the trolls.” (30:10)

On Leaving Celebrity Styling:

• “I needed a little pause from celebrity...The film industry doesn't really understand or care about how stylists are part of the process.” (24:07)
• On being pigeonholed: "There's a certain innate ability from being a woman in menswear...do women want to shag this guy, do guys want to hang with him? That's the secret sauce." (26:24)

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Industry Observations: Models, Artists & New Brands

Who Has Innate Swag?:

• “It’s the models—long and lean, clothes fall well, ultimate fantasy youth.” (12:01)
• “Everyone’s beautiful in their own way, but pretty privilege is real.” (13:42)

Working With Artists:

• “Marina Abramovich loves fashion, understands fabric, how things will fit...Martine Syms really considers her image as a subject of art…” (39:21; 40:36)
• Career highlight: convincing Shirin Neshat to wear Comme des Garçons and lie on the floor for a shoot (41:32)

Discovering & Mentoring New Designers:

• On Kartik Research: “He’s genuinely building a house...working with artisans, building a factory in New Delhi...” (45:17; 46:00)
• Other brands to watch: “Julian Louie with Obero is amazing. Brand that requires/deserves study.” (47:36)

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Hot Takes, Memorable Quotes & Advice

On Personal Style & Taking Risks:

• “Joy of fashion is not knowing yourself...figuring it out.” (68:11)
• “I love irony in my clothes. I like things that are a little bit wrong.” (67:20)
• “Even if I’m the only one who knows it...there's always something a little bit wrong in everything I do.” (28:23)
• “The best place to shop is your closet.” (05:16)

Advice for Listeners—Styling Gripes & Crutches (91:20):

• "People look too much at the Internet—everyone starts to look the same." (91:42)
• “Develop interests. Read. Go look at art. Learn. Get a good tailor...Understand where your shoulder is in relation to where the jacket ends.” (93:40)
• “My other job? Go to stores and align buttons to buttonholes—see it in windows way too often.” (95:21)
• “License to play with rules is fun if you know them—but if you just miss the basics, it drives me crazy.” (98:46)

Fashion Mistakes & Regrets:

• Regretted buying a Supreme baseball tee (“I put it on and I was like, I look like Tony the Tiger. No heel will make that look cool.” (66:11))
• Most-missed grail: A specific Hermès cashmere scarf left at a restaurant (“the way it would enhance an outfit...I’ve been trying to find this scarf since.” (77:55))

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Industry Insights: Politics, Money & Shopping

Editorial Politics:

• “Sometimes hindered by advertisers, but it’s the nature of the beast. My job is to make it work within constraints.” (51:33)

On Shopping Habits:

• “Not a big shopper, but when I see something I love, I get it.” (64:37)
• Large portions of wardrobe: Zenya, The Row, Supreme, Kartik Research, Palace Skate (80:18)
• “If there’s a Row piece I really, really, really want, I’m not allowed to look at the price.” (81:00)

On Money:

• "I'm not very conscious of money...I buy art more than I buy clothes." (85:26)

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Indie Magazines & Print Culture

Mags to Watch:

• “I love Purple—Olivier Zahm is incredibly smart...I fucks with Let, Another, Another Man, Tea...” (99:21)

Print vs. Digital:

• “Go buy physical magazines. Print matters.” (101:40)

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Closing Advice: Fit Fundamentals, Individuality, and the Joys of Dressing

• “People are not being honest with their own interests…or they're manipulated into thinking their interests are their interests.” (92:40)
• “Get a good tailor. Know your shoulder point. Cut the vent. Be attentive, but know the rules so you can break them with intention.” (93:40, 94:01)
• “Joy of fashion is experimentation. Figure it out. Don’t let everything be perfect—embrace the little things that are a bit wrong.” (68:11, 28:23)

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Notable Quotes Recap

• Julie on her philosophy:
  “My actions are not about me or my ego. It’s to help factory workers keep their jobs. That’s a big part of what I’m thinking about—how to have the ecosystem function right.” (21:30)

• On the death threats era:
  "It was insane… nothing was mine anymore. It was a dialogue… I had no space to breathe. Media made it so much bigger than it was." (29:05–31:42)

• On success with Pedro Pascal:
  “He was still approachable. That’s kind of a bit of the secret sauce of what I enjoy in clothes in general.” (26:58)

• On style advice:
  “Get a good tailor. Literally, understand where your shoulder is in relationship to where the jacket ends.” (93:40)

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Key Timestamps

• Fit check & personal style: 04:35–09:59
• Packing/travel insights: 01:38–05:47
• Zenya collaboration: 14:44–19:11
• Death threats story: 29:05–31:41
• Art & fashion intersections: 39:21–42:07
• Kartik Research backstory: 44:17–47:27
• Industry advice (style, tailoring, breaking rules): 91:20–99:03
• Indie mags & print media talk: 99:21–101:19

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Where to Follow & What's Next

• Instagram: @julieragolia
• Recent work: Editorial in RE-Edition with Sophia Zella, upcoming Zenya LA show June 5th (101:19)
• Closing statement: “Print matters. Go buy the physical magazine people.” (101:40)

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Summary compiled in the spirit of Julie’s own philosophy: details, dimensionality, and always a bit of the unexpected.

Transcript

[Julie Ragolia]

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[James]

Our guest this week would die for the fit. And she almost did. She's not a crip, but she's killing every red carpet with her signature beguiling styling. You may know her from such hits as Pedro Pascal's Daddy Era helping to launch Cartic research on the Runway. And Lakeith Stanfield entering the best dressed celebrity conversation as she starts evolving her career beyond dressing celebs. She took some time off from her whirlwind schedule and is here to chat. Getting death threats over an outfit. Runway versus red carpet fits and the styling moves guys have to stop doing immediately. Immediately. Julie Regolia. Julie, how the hell are you?

[Julie Ragolia]

Hi. I'm good. How are you guys?

[James]

Long time coming. You're a hard woman to pin down.

[Julie Ragolia]

I know, I know. Thank you for being so patient with me.

[Lawrence]

Of course.

[James]

You're a very busy woman.

[Lawrence]

We understand.

[James]

Where were you just now?

[Julie Ragolia]

Oh, boy. Okay.

[James]

Where in the world is Julie Rigoli?

[Julie Ragolia]

I started in Rome, then I was in Milan, then I went to London, then no. Then I went to Paris. Then I went to London for a night. I. Then I went to back to Milan, then I went back to Paris.

[James]

What the fuck?

[Julie Ragolia]

Then I went to London in order to go to Liverpool to watch the football.

[Lawrence]

Oh, they win.

[Julie Ragolia]

No PSG1, which I knew is going to happen, but I'm a diehard Liverpool support.

[James]

Oh, really?

[Julie Ragolia]

Yeah.

[James]

When you. Okay. I kind of asked that joke. I kind of asked the question not realizing how insane that answer is going to be. As a stylist, when you pack for a trip that has 17 legs. What's your philosophy, mentality, game plan, Going in.

[Julie Ragolia]

I mean, as much as you can shove. Shove it.

[James]

You're a shover. You're not.

[Julie Ragolia]

I am. You know, it's funny, even if I'm, like, not going somewhere for that long or it's summer where things are maybe a bit smaller, I still. If there's space in the remova, I'm gonna use it. Shout out Remova. Because you. You really saved my life all the time.

[James]

How many bags. How many removas were on that trip?

[Lawrence]

How many trunks?

[Julie Ragolia]

Three.

[James]

Okay.

[Julie Ragolia]

One trunk, one large, one small. All the metal. The small is my styling kit. So. Really? Yeah, so really, I was gone for about a month, and I did in two suitcases, which isn't bad.

[Lawrence]

How do you do laundry? On the road, at the hotel. Do you have dry cleaners in every city?

[Julie Ragolia]

What's the plan? Yeah, I'll usually reserve for when I'm at a hotel that I know I'm good to, you know, to do the dry cleaning or the cleaning. Paris, I have an apartment.

[James]

So sick.

[Julie Ragolia]

Yeah, yeah.

[Lawrence]

Very cool.

[Julie Ragolia]

Yeah.

[James]

Apartment in France.

[Julie Ragolia]

Thank you.

[James]

But when you're. When you're packing, are you like, oh, I'm somebody that I. I just shove a bunch of in there. But I'm like, oh, this is kind of versatile. I'm not planning fits, but I know that I like wearing the shirt with, like, various pants. I know these pants, you know, will fit for on any occasion. Are you. Is that how you're thinking? Or are you, again, just, like, black tie, work on. On the set for eight hours, Heels, sneakers, workout clothes, like, just throw it all in there?

[Julie Ragolia]

Yeah, it's a bit of a smorgasbord of clothes.

[Lawrence]

So no spreadsheet or anything?

[Julie Ragolia]

No, no, I'm not that organized. I mean, I have things that I love to wear all the time, you know, like, you know, obviously if I'm with Zenya, I have some Zenya pieces that I'm throwing in.

[Lawrence]

Company woman.

[Julie Ragolia]

Yeah, yeah. And no, but honestly, Zenya is the best clothes for traveling because everything goes with everything and, you know, modular in that regard. Yeah, exactly. I mean, you know, you could wear, like, I'm wearing a Zenya shirt with, you know, footy pants.

[Lawrence]

That's true. Oh, you got the Liverpool FC trackies on her bottom. Okay.

[Julie Ragolia]

All right.

[James]

All right, well, I guess we got a little preview of the fit check.

[Julie Ragolia]

Yeah, yeah.

[Lawrence]

So we just real quick. When we have one of the most stylish women in the world on the show, this Is a very special fit. Check. Can you walk us through everything that you are wearing today to podcast?

[Julie Ragolia]

Yes. So Zenya linen shirt, jacket, good old Hanes tank top.

[Lawrence]

Classic.

[Julie Ragolia]

Yeah. Adidas, Liverpool track pants. Pierre Hardy heels, which I am trying to become a heels girl. This is a new thing. I mean, I have a million pairs of heels, but I'm like, I have so many pairs of shoes and I never wear them. I basically wear the same sneakers all the time or the same, like, boots from the Row. So I'm, like, trying to actually wear more of my clothes.

[Lawrence]

How's it going with the heels?

[Julie Ragolia]

It's Pierre Hardy. Shoes are really comfortable. Yeah, he's. He's brilliant, actually. One of the few shoes that I can wear comfortably without needing a cab.

[James]

Noted. You know, the best place to shop is your closet.

[Julie Ragolia]

Yeah, yeah, exactly. No, that's the thing. It's really fun because I don't know about you guys, but I'm someone who. I mean, New York City apartments, you know, you have everything that kind of lives in the front. Yeah. And.

[James]

Yeah. The pile in the front and the back.

[Lawrence]

Foyer dwellers.

[Julie Ragolia]

Exactly. And then the stuff that sticks out a little bit because it doesn't fit, you know, so that thing that's hanging out on the hanger gets worn more than other things. And so I'm trying to renegotiate my closet.

[James]

Break the cycle.

[Julie Ragolia]

Yeah, exactly. Yeah. So what sneakers are you normally wearing right now? On my rotation? Are those Issey Miyake A six?

[Lawrence]

Oh, yeah, we got those two.

[Julie Ragolia]

Yeah.

[James]

Gray ones.

[Julie Ragolia]

Yeah.

[Lawrence]

Bangers.

[James]

I should keep them. Yeah, they're in. I have various piles right now. They're in the keep them or sell them pile.

[Julie Ragolia]

Yeah.

[Lawrence]

Will they? Won't they?

[James]

Yeah, but they might make it over to the keeping pile now that they got the Golia coaster.

[Julie Ragolia]

I mean, you know, it's not easy to have a good gray sneaker. I think my last gray was a Stan Smith Adidas from, like, I don't even know what. I bought it at models for $2.50 in Brooklyn. Yeah.

[James]

Inflation.

[Julie Ragolia]

250.

[James]

Thanks.

[Julie Ragolia]

250. Yeah.

[James]

Wait, what? What year was that in Models? That's gone.

[Julie Ragolia]

The one on Flatbush.

[James]

Gotta go to Moe.

[Julie Ragolia]

Yeah. Gotta go to Mo.

[James]

Gotta go to Mo.

[Lawrence]

Great jingle.

[Julie Ragolia]

Exactly how to go to 50s.

[Lawrence]

That should be illegal.

[Julie Ragolia]

$2.50. I wore those things till they fell

[James]

as a Brooklyn girly. Is Models where you first got your. Got the. The fashion bug?

[Julie Ragolia]

Yeah, Sportswear. Yeah, definitely sportswear. I mean, it was Models. There was a store called Chess King. Which was actually where I had my first job.

[James]

Chest king.

[Julie Ragolia]

Chess King.

[James]

Oh, okay.

[Lawrence]

Like the game.

[Julie Ragolia]

Yeah, yeah.

[James]

Okay.

[Julie Ragolia]

Chess King in the King's Plaza Mall in Brooklyn.

[James]

A chess store?

[Julie Ragolia]

No, no, no. It was. It was really naff clothes, like prints and jeans, like, sick. You know, but weirdly, I forget the name. There was a shirt brand called id.

[James]

Okay.

[Julie Ragolia]

That. It was like, print shirts that, like, they sold them. And so it was actually a really cool place to work. I wanted to work there. Or Aeropostale, because there was a hot guy in Aeropostale and I wanted to work with him.

[James]

It's funny how attraction to someone is always just, what, at the root of every decision we've ever made.

[Lawrence]

Especially with getting dressed. Right.

[Julie Ragolia]

I mean, essentially trying to broadcast something over here.

[James]

What about the spectacles?

[Julie Ragolia]

Yeah, yeah, those are all of her people's.

[James]

Nice.

[Lawrence]

Do you have a signature frame or do you have, like a rotation?

[Julie Ragolia]

I pretty much just wear these. When I first became a glasses person a few years ago, I was trying out all kinds of styles. The thick black rims, the sunglasses that you turn into opticals because the bigger metal frames. And when I got to these, the. The guy in the Oliver people store, he actually suggested doing a little tint. And I was. I. I was always a bit wary of people who put a little tint in their glasses. Yeah, it's like, what. What.

[Lawrence]

What are you hiding?

[Julie Ragolia]

Yeah, exactly.

[James]

Cover your drink when they walk by.

[Julie Ragolia]

Yeah, exactly. Yeah. But he suggested in such a mild, mild tint. So he went with it. Yeah, I went with it. See, you can't really.

[Lawrence]

No, not at all.

[Julie Ragolia]

Yeah, it's just enough of a little dimension, you know, it's texture.

[Lawrence]

What's the name of this frame for anyone who wants to straight copy you one for one.

[Julie Ragolia]

You know, I honestly don't know. And I'm not withholding this information.

[James]

Is. Is this is the pursuit of texture or like an extra dimension? As a stylist, is that something you're always kind of keeping in mind when you're looking at, like, how you add to your wardrobe or how you're getting dressed?

[Julie Ragolia]

Yeah, I love texture. I mean, you know, texture not even

[James]

in just like, material, but also like you said, just having. It's slightly off here. That's.

[Lawrence]

Yeah, the extra mile.

[Julie Ragolia]

Yeah.

[Lawrence]

Making it a little different.

[Julie Ragolia]

Exactly. It's just a little something that gives dimensionality to. To a fit. Yeah. You know, and so sometimes it is fabric, like, you know, this linen having a little more than just being something. I don't know, just Perfectly straight, solid.

[James]

Is this a men's piece?

[Julie Ragolia]

Yeah.

[James]

Oh, Senora Sartori, if you're listening, we love some Zenya.

[Lawrence]

Truly.

[James]

For. I'm not kidding. We got this big old bag you got hanging over a rack over there.

[Lawrence]

Bucket bag. Oh, the Prada bucket.

[Julie Ragolia]

Yeah. I actually really love that bag because everything fits in it like I love an old lady bag.

[James]

Is that an old lady bag?

[Julie Ragolia]

Yeah, it's a total Shura bag.

[James]

Okay.

[Julie Ragolia]

Yeah. And it's funny because I'm such a tomboy, but I love a sh. Bag. And I have a friend who will see me and he'll be like, what is with this bag? And whether it's this one or another one. And I'm like, what? It's funny. I like it.

[Lawrence]

Juxtaposition. Spice of life. Right.

[James]

Dimensionality.

[Julie Ragolia]

Yeah.

[James]

Old shit.

[Julie Ragolia]

I'll always say I'm a short training anyway.

[James]

Yeah, yeah. Everything all right?

[Lawrence]

You contain multitudes, Julie.

[James]

Any jewelry?

[Julie Ragolia]

Zero.

[Lawrence]

Is that normal for you? No watch, no rings, no jewels?

[Julie Ragolia]

I'm not really a jewelry person.

[Lawrence]

Are your ears pierced?

[Julie Ragolia]

They were, yeah, when I was a kid because I had really short hair for a long time when I was a little kid and people used to think I was a boy. Plus my mom was always putting me in boys clothes, which maybe accounts for the career.

[Lawrence]

I was very fro.

[Julie Ragolia]

Yeah. So. So, yeah. But she pierced my ears so that people would know I was a girl.

[Lawrence]

Just in case anyone was gender.

[James]

Just gender signaling.

[Julie Ragolia]

It's like, hey, mom, you could have put me in a dress.

[James]

Yeah. Or grow my hair. Yeah. Fit. Check. Sipping on some H2O drink. Check. Complete. Let's get into the meat and potatoes. Julie, between your clients, Riz Ahmed, Mads Mikkelsen and Lakeith Stanfield, who smells the best?

[Julie Ragolia]

Oh, I don't know. I never thought about this.

[Lawrence]

Never smelt it though.

[Julie Ragolia]

No, I mean, none of them have a signature scent. Like I don't. None of them have a scent. They all smell nice. I mean, I haven't. I haven't seen Lakeith in a few years. So it's. I can't say day, but. But Riz always smells really nice. Mad smells really nice.

[James]

They look like they smell nice.

[Julie Ragolia]

Yeah, I saw mad.

[James]

You love to give Mads a sniff. Who naturally. Of all the clients you work with, the individuals work with, who naturally has no swag?

[Julie Ragolia]

Just like, oh, I just thought about something. Zenya just launched a new scent.

[Lawrence]

Wow, how convenient.

[James]

So Mad smells the best.

[Lawrence]

So Mads. Definitely.

[James]

Mad is number one.

[Lawrence]

Number one.

[Julie Ragolia]

Mad smells the best.

[Lawrence]

Nicholson with a bullet.

[Julie Ragolia]

Zenya on Mads all day, every day.

[James]

But when you're working with, like, individuals and clients, like, who that you've worked with does just have, like, the most natural, innate style.

[Julie Ragolia]

I mean, honestly, it's the models. It's the models. As I'm doing Runway. Yeah. Like, it's funny because models used to come into to castings with their own clothes, their own style. And maybe around the time of Eddie Simon at Celine or maybe at St. Laurent, it started. I can't recall, but models started to just wear black. You know, black jeans, black T shirts, not really showing their own personal style, but even within that kind of a uniform, they come in and they just have a really dope sense of self. So often, you know, whether it's like, a T shirt they're wearing or a belt or a way that they're wearing something, I think of everyone that I style, the models are like, is that an age thing?

[Lawrence]

Because, you know, models typically are, like, younger, so it's like Gen Z people now that you might be seeing at a casting who, like, just inherently love clothes as menswear gets more popular as, like, a hobby. Think it's like, an age thing.

[Julie Ragolia]

I don't know if it's an age thing. I mean, it's definitely. There's more of an awareness than I think even say, you know, kids that I went to school. Although, no, I went to school in Brooklyn. I'm a New York City kid. Kids had swag.

[James]

Okay.

[Lawrence]

All right.

[Julie Ragolia]

Yeah. It's just in our bone.

[James]

We gapped up. If you weren't.

[Lawrence]

If you don't pay for video.

[James]

Okay.

[Lawrence]

They left out the Jersey Boy with the models.

[James]

With the models. Are they stylish? Because they're just hot. Like, if you. If you took your hand and covered up their face and also maybe covered up their perfect bodies, would they still be stylish?

[Julie Ragolia]

You know, that's a good philosophical question. I'm here for it. We'll never know. I mean, you know, there are a lot of things that we can see beautiful people wear that it just works where it might not work on someone else.

[Lawrence]

Pretty privilege.

[Julie Ragolia]

Yeah. I mean, everyone's beautiful in their own way, and especially, you know, we all got to work our swag. But. But, yeah, I mean, maybe it's because they're long and lean and clothes fall

[James]

well and walking like new boys.

[Lawrence]

Right?

[Julie Ragolia]

Yeah.

[James]

They're also, like. It's the ultimate fantasy youth.

[Julie Ragolia]

Yeah.

[James]

Infinite time between models, editorial, celebrity. What? Who is often most receptive to, like, your insane Ideas and kind of pushing the envelope of their personal style beyond just like what they walk in with or what their getting out of their comfort zone.

[Julie Ragolia]

I mean, models for sure, because that's their function.

[James]

Yeah, shut up and put on this COD piece.

[Lawrence]

Yeah, walk.

[Julie Ragolia]

No, I mean, I think.

[James]

Don't trip.

[Julie Ragolia]

My collaboration with Zenya is, you know, where I get to. To push a bit, you know, because, like, Alessandro is so smart and so determined to just be the best and is the best.

[James]

What's the nature of that? You call it a collaboration? What is the nature of that? That relationship?

[Julie Ragolia]

I mean, so I've been working with Alessandro for 10 years now.

[Lawrence]

Wow.

[Julie Ragolia]

Wow. Yeah. Yeah. We started working together when he was at Berluti and then when he went to Zenya, brought me with him. So in terms of collaboration, I mean, it's, you know, it's working on the fashion shows with him and the team, you know, reviewing the collections, styling the shows, styling the ad campaign, and just being a sounding board, as much as, you know, he wants me to be.

[James]

And is he receptive to your insane ideas of, like, pushing it a little, pushing it a little further, tweaking it beyond maybe what his original vision was?

[Julie Ragolia]

Yeah, I mean, you know, we have a lot of fun at Zenya, so. So he's really receptive to conversation and, you know, and is also quick to make fun of me when I have ideas that he knows are never gonna work and, you know, things like that. But that's the joy of it. That's the joy of the collaboration is like, really just having fun, being the best. Best.

[James]

How underrated is Zenya's menswear? Because I think that if you're paying attention, you, like, really know and have. And have an appreciation for it.

[Julie Ragolia]

Yeah.

[James]

But it doesn't seem like it's maybe not always in, like, the conversation because it's not making the most noise, which is, in our opinion, like, probably an asset. Yeah, but do you think, like, are you.

[Lawrence]

Yeah.

[James]

How underrated is it?

[Julie Ragolia]

I mean, I don't think it's underrated because it's doing well, you know, where a lot of other brands aren't. Yeah. So scoreboard. Exactly. You know, but just the same, it's not a conversation that everyone is having, you know, about Zenya. Zenya. You know, Zenya does things that other brands utilize, but people think it's then for other brands, you know, which is. Which is really interesting, you know, But Zenya's the og.

[Lawrence]

Sure.

[James]

You see other brands jacking Zenyat.

[Julie Ragolia]

Oh, yeah. You see it all the time.

[James]

What are we talking about?

[Julie Ragolia]

No, I mean, even just certain styling ideas or colors or, you know, the way things are put together. I mean, you know, sweaters around the neck, we see everywhere. Like, you know, and that's been on Zenya. That's been on a Zenya look for a long time.

[Lawrence]

A decade.

[Julie Ragolia]

It's been part of the Runway, you know, So I don't know. It's just. You just see a lot, I think the fact that men wear so many more wide pants now. You know, that's Alessandro Sartori. He did that.

[Lawrence]

What goes through your head when you see another brand and maybe a great brand that you respect for, like, almost copy your styling contributions, whether it's like, sweater on the shoulders or anything else, like, are you flattered or are you, like, you.

[Julie Ragolia]

I mean, I'm flattered. You know, obviously, imitation is the best form of flowered flattery. But, you know, every now and then, the fact that I'm a freelancer, I'm like, yo, that's.

[Lawrence]

You could have hired me.

[Julie Ragolia]

Yeah. But generally speaking, it's nice to see, you know, things that you think are good become part of the greater conversation. And. And at the end of the day, not everybody needs to, like, you know, go touting your name. And I think it actually becomes cooler, you know, because the people who, like, you were saying, James, it's like, you know, the people who know, know, and it obviously works because it sells and, you know, and. And it moves things, you know, I mean, even like, just this past week, I forgot. I forget who. But there were a couple of celebrities, you know, wearing, like, sweaters around their. You know, around their shoulders. And actually it was Oscar Isaac and Charles Melton, both in the last week. And I'm like, okay, that's a flex. You know, it's something that I did with pedro2something years ago, you know, and so it's kind of cool to then see other celebrities doing it, but, like, also, it's part of Zenya's DNA, so, you know, the roots where it's coming from, Right?

[Lawrence]

The trickle down from you guys.

[Julie Ragolia]

Yeah. Yeah. So I don't mind it. I find it cute.

[James]

Do you feel like. Like, do you wish that maybe in the era of the star stylist that we're. That we're currently in with, you know, probably led by Law Roach, but it seems like everyone now. Taylor, Neal, Matthew Henson, it seems like stylists, because fashion is such a. Everyone has such a much, much more deeper appreciation and interest in fashion. Like, they're Bigging up, like, the people behind the scenes. Do you kind of wish that maybe you had more of, like, a public recognition for the things that you've done that you're now seeing, like, trickle down a few years later? Or are you happy to. To just kind of like, you know what? Yeah, that's cute.

[Julie Ragolia]

I'm happy to just do my thing, honestly, so long as it works. And I, you know, have money in the bank and. And a roof over my head, I'm good. Two roofs.

[Lawrence]

One in Paris, one.

[Julie Ragolia]

Actually, three. I have one upstate.

[Lawrence]

Oh, she's got free roof money, folks. Two more than me.

[Julie Ragolia]

Oh, triple roof money.

[Lawrence]

Love that.

[Julie Ragolia]

Yeah. No, I mean, I can't complain. I make a decent living, you know, and I just get to play, so I'm. I'm grateful. I'm happy. So, no, I don't need be full of attention, quite frankly. All the attention, it makes me nervous sometimes. You know, I made the BoF500 list last year and. Thank you. Yeah. And it was really exciting, but just the same, I was nervous, you know,

[James]

apply for that or you, lady, come to us.

[Lawrence]

There's not 499 more important people. We got one.

[James]

Yeah.

[Lawrence]

The only podcast that matters. What the. How does it work? Whose dick you gotta suck to get on this list?

[Ad Read Host]

Imran's?

[Julie Ragolia]

Nope, it's peer generated, actually.

[Lawrence]

Oh, well, we're.

[James]

God damn it.

[Julie Ragolia]

Oh, come on. We all love you.

[James]

All my friends dead.

[Lawrence]

Yeah. So you're nervous for the attention?

[Julie Ragolia]

Yeah, I was nervous for the attention because then, you know, the second you have that many more eyes on you, what then happens, you know, they can drop. And so, you know, and I've been quietly doing my thing for a long time, so the more attention I get, the more anxious I become that, you know, that people will, A, know my jam, you know, and B, potentially get tired of it, you know, goes up, must come down. Yeah, exactly. What.

[James]

So do you. Do you ex. Do you appreciate the respect and recognition of more like your. Your peers?

[Julie Ragolia]

Oh, yeah.

[James]

Like the public.

[Julie Ragolia]

Yeah, I mean, you know, the. The respect from my peers is amazing, you know, just as I respect what they do. It's exciting. As an industry, we're a community fashion, you know, and sometimes we forget that. So. So that's super nice, you know, versus, say, the accolades of the public. It just feels more special, you know, because these people are fine tuned to

[Lawrence]

what you're doing from your egoless seat. What do you think of the term? Now, as James mentioned, like, stylists are becoming celebrities in their Own. Right. They have these personal brands. What do you think of the term image maker? Do you see yourself as an image maker? Are you like. No, I'm a stylist or an image architect. Yeah, or image architect. Even more highfalutin.

[Julie Ragolia]

Yeah, no, but actually, I like. I like the idea of image architect or image maker, you know, because, yeah, I am a stylist and I use clothes as my medium, you know, to create. But, you know, especially in the celebrity sphere or with brands, you know, you use that ability with clothes to tell stories. So it's more than just, you know, like, here, put on this outfit. It's like, what does this outfit mean in the greater context? You know, if it's with a brand, it's like, how do you help those clothes sell better? And, you know, because if they sell better, then more people have jobs. Like, I think about that a lot. You know, my. My actions are not about me or my ego. It's to help help factory workers keep their jobs. You know, that's. That's a big part of what I'm thinking about, how to have the ecosystem function right. You know, I mean, I was in Bergdorf Goodman yesterday in the men's store, and there was like, no one in it. That breaks my heart.

[James]

I was outside drinking.

[Julie Ragolia]

Yeah, yeah, that's true. It's really nice.

[Lawrence]

It was too hot to shop.

[Julie Ragolia]

That's true, that's true. You don't want to think about that.

[James]

How, how else does. So it sounds like commercial. Commercial ability and sellability are obviously, like, front of mind, but how else? Like, what are the biggest differences that you can clue us into between styling for the Runway and maybe styling for the red carpet and styling for editorial?

[Julie Ragolia]

I mean, styling for the Runway is. It's so exciting because it's like, you know, a six month buildup for ultimately, what's 10 minutes? But those 10 minutes determine so much of what happens for. Yeah, exactly. You know, and. And lifetimes, honestly, because you. How well they do, how well they're received, you know, because it becomes the customer, the fashion news, the audience, the Internet, you know, so it's a big. It's a big responsibility on a brand or a designer's shoulder, you know, or a stylist, etc. Everybody involved. It's a big. It's a big weight, you know, and then red carpet, it's thinking about, you know, the place where someone will be, I. E. You know, whether it's like a Met gala or an Oscars or, you know, because the platform determines a lot and thinking about that, you know, like. Like when I first started styling Riz, which was nine years ago, and Riz and I just stopped working together in, like, a very warm and wonderful way where we're still close. I love him to bits. It's just I. I needed a little pause from celebrity.

[James]

So all celebrity styling is on pause

[Julie Ragolia]

right now for the moment. I'm not. Yeah. I'm not. I'm not out of the game entirely and that I would never do it again or anything like that. I just feel personally with where the world is right now and where the. The film industry is right now, I just kind of wanted to take a minute and observe, you know, I've always been really good at knowing when to take a step back.

[James]

Are you gonna start styling streamers?

[Lawrence]

What about podcasters?

[James]

You know?

[Julie Ragolia]

I mean, hell, yeah. You guys. You guys know more about fashion than

[Lawrence]

I do about that.

[Julie Ragolia]

No, honestly, I listen to you guys speak, and I'm like, I don't know anything.

[James]

So. Not just that. Not. You're not just looking at, like, the shifts in the. In the industry at large, but also, like, it. Are you kind of sick of, like, the hoopla and the circus of it all?

[Julie Ragolia]

Like, it's a little bit of. Of that. It's also just the. The mechanisms whereby clothes are selling films, you know, like. Like the decisions that I made as a stylist. I know how much attention it gets a film.

[Lawrence]

Yeah, yeah.

[Julie Ragolia]

And, you know, and I don't think that the film industry understands or cares a lot about how stylists are really a part of the process. Yeah, yeah.

[Lawrence]

Paid overworked.

[Julie Ragolia]

Exactly. Yeah.

[James]

You're only paying attention to. Not only paying attention, but. But, you know, a guy like me, Lawrence, might pay attention to a Pedro Pascal red carpet movie because of the outfit.

[Julie Ragolia]

Yeah, right. Exactly.

[James]

Because of the image that circulates and, you know, that people want to share.

[Julie Ragolia]

Yeah.

[Lawrence]

Or we're tapped into a press junket for the outfits because, like, we want to see what's going on, who's got it, who doesn't. Etc.

[Julie Ragolia]

I get what you're saying.

[Lawrence]

I never really thought about that.

[Julie Ragolia]

Yeah, yeah. But the film industry doesn't really understand how vital styling is, and. Yeah.

[James]

Yeah. No wonder you're going out.

[Lawrence]

Yeah. They're up a lot of. So I'm not even surprised.

[James]

Got your lunch eaten by Netflix. And now.

[Julie Ragolia]

Yeah.

[James]

Overlooking the style and is.

[Lawrence]

And it's a.

[James]

Where are you moving towards editorial Runway?

[Julie Ragolia]

I mean, editorial and Runway have always been a part of my life. You know, I Love the idea of people understanding that. I do also style women, which.

[James]

Yes.

[Julie Ragolia]

Yeah. I think a lot of people forget.

[James]

FYI, FYI, is it tough being a woman who's maybe pigeonholed as a men's menswear stylist?

[Julie Ragolia]

Yes and no. I mean, there's a certain level of. I don't want to say power, because it's not like I'm looking for power, but there's a certain innate ability, I think, that comes from being a woman in menswear in the sense that, like, I see things from a more sensual and textural. Textural perspective than maybe some of my male peers. You know, I mean, I've always looked at menswear from the perspective of, like, you know, do women want to shag this guy? And do guys want to hang out or men want to shout out. Yeah, and female.

[James]

And the gays.

[Julie Ragolia]

Exactly. Yeah. No, and. And do guys want to hang out with him? You know, it's like thinking about that, you know, because again, it, like, it's a sense of camaraderie with. With individuals, as opposed to them feeling separate to us. And I think, you know, if I needed to touch on my period with Pedro, I think that was one of the greatest successes is that for all of the. The directions and things that, you know, that. That I took him in and that we went through together, he was still approachable. And that's kind of a bit of the secret sauce of. Of what I enjoy in clothes in general.

[James]

Fun. Gunkle.

[Lawrence]

Bringing the celebrity, like, down to the level of, like, the person who's consuming the culture versus putting them in an outfit that, like, puts them on some pedestal and making them less approachable.

[Julie Ragolia]

Yeah. I mean, you know, even. Even in outfits that could be o. Like, say, Pedro. Yeah. You know, the shorts at the Met gala, the red coat, or, you know, several decisions that we made. Even the sweater around the neck, you know, like. Like something so inherently. Granddad, Mr. Rogers, etc. Etc. But kind of pursuing knitwear in the beginning of our collaboration was a choice because it was an approachability to where then when there was the short. There's, like, always something a little bit wrong in. In everything that I do. Like, you know, even if I'm the only one who knows it.

[James]

Intentionally.

[Julie Ragolia]

Yeah, yeah. It's like. Like, because we're humans, we. We all have something wrong, you know, like, there's a wrinkle in my shirt, you know, the shoulder, because I'm sat. Will, you know, sit in a different place than it might when I'm Standing.

[Lawrence]

Sprazzatura in a nutshell.

[Julie Ragolia]

Or, huh?

[Lawrence]

Is it like Sprazzatura in a nutshell?

[Julie Ragolia]

Yeah, exactly. You know, but, like, the same Sprazatura brings, you know, beautiful things as a result, you know, you got to put

[James]

a name on it. It kind of devalues it, in my opinion.

[Lawrence]

Precedes you, dude.

[James]

Okay, well. Okay, so speaking of this. So you receive, about a year ago, you got death threats for Pedro Pascal's Last of Us Season two Red Carpet fit. Be honest. Is it kind of awesome that people care so much about your work that they're willing to commit murder?

[Julie Ragolia]

I mean, honestly, it was insane. It was. It was insane. Like, and that was partly what was becoming a little overwhelming, in all truth, you know, Like, I love that we created this. This beast, you know, but it became a little overwhelming, you know, like. Like nothing be. Nothing was mine anymore. You know, if I wanted something, it was never just my post. It was a dialogue, you know, or, you know, at one point, I was kind of taking to threads to, you know, to kind of do, like, say, a BTS or something. Like, I kind of thought of it as, like, my quiet little moment where I can put something. And then I realized, like, something on threads becomes something on Instagram and tick tock and, you know, so I had no space to breathe. And you're too good.

[James]

You made you.

[Lawrence]

And then you're feeding, and they're just feeding the beast.

[James]

You accidentally became important at work.

[Julie Ragolia]

That's what happened. Yeah, exactly. And, like, you know, but yeah, one person, really. I mean, it wasn't. I mean, the media made it out to be something so much bigger than it was. Like, after we stopped working together.

[Lawrence]

Sensationalize everything.

[Julie Ragolia]

Yeah, exactly. I mean, I think I had. I mean, it was my fault, too, because I commented on Twitter, you never feed the trolls.

[James]

Julie, you do be tweeting.

[Julie Ragolia]

Yeah, I stopped Ms. Twitter. I just. I can't do it.

[Lawrence]

You might want to stay off.

[Julie Ragolia]

Exactly. That's the thing.

[James]

Scroll.

[Julie Ragolia]

Yeah.

[James]

Don't ever tweet unless it's a pee pee or poo poo joke.

[Lawrence]

Don't participate, only consume.

[Julie Ragolia]

Yeah, exactly.

[Lawrence]

For the most part.

[Julie Ragolia]

Yeah.

[James]

But did you ever think. Was there ever a moment in your life, you're like, you know what? My life might be endangered by something? An outfit that I style.

[Julie Ragolia]

No, it wasn't. It was not anything like that. Like, I didn't think someone was going to hunt me down because they didn't like that acne fit, you know?

[James]

I mean, you never know These.

[Lawrence]

Yeah. People are psychos.

[Julie Ragolia]

You never know. Because high fashion Twitter. Who? Woo. Yeah. I mean, baby Reindeer is based on a true story.

[Lawrence]

That is true.

[Julie Ragolia]

Yeah. And he was not famous.

[Lawrence]

No.

[Julie Ragolia]

So now.

[James]

Now he is attractive.

[Lawrence]

Yeah.

[Julie Ragolia]

Not.

[Lawrence]

Not attractive as Pedro. That's a fact. Yeah.

[Julie Ragolia]

No, but, yeah, I did. I fed the beast. And that was my mistake for commenting because, you know, it's like, I just. I'm human. And so I did say something. Like, one of you called, like, called for my death because you didn't. Like a fit. Like, like really, you know, and then it. And then it died. It went away. And then, you know, when we parted ways, it resurfaced. And I didn't think about that. You know, I mean, GQ asked me for a comment. Lauren Sherman asked me for a comment. You know, the Daily Mail loved the idea. Yeah. You know, death threats and all this stuff.

[Lawrence]

Yeah.

[Julie Ragolia]

I mean, it's funny now, but during the time, it was. It was really violating in all truth, you know, because. Because I just, you know, like, I could text Pedro tomorrow. It's not. There's no drama.

[Lawrence]

Right.

[Julie Ragolia]

You know, it's wanted to read into it more than.

[Lawrence]

Of course.

[Julie Ragolia]

Exactly. Yeah. And, you know, and these things happen in Hollywood. Like, people work together and then they don't, you know, like, you know, so when. When Riz and I decided to stop working together, it, you know, Lauren wrote something super respectful. Lauren Sherman, for those who don't know who I'm referring to on Puck, you know, she wrote something just gentle about it. You know, it is what it is, you know, and. And that's all it was. You know, that was comforting to me because I actually helped Riz find his new stylist, Felicity K. Yeah. And I wish them the best.

[Lawrence]

People helping people. We love it.

[Julie Ragolia]

Exactly. That's the thing. So, you know, so I had to get ahead of the potential drama.

[James]

Yeah.

[Lawrence]

Oh, is that a new development in this day and age where you're like, I'm trying to get ahead of any potential rumors or blowbacks because of how it would affect, you know, future client relations and things?

[Julie Ragolia]

Yeah. I mean, in a way. I mean, now I'm sort of, you know, on a pause from Hollywood. So it's not as, you know, it's not as relevant. Like, there's no drama in my editorial work. You know, Kenya is zero drama.

[Lawrence]

Besides the clothes themselves stands for.

[James]

Right.

[Julie Ragolia]

Yeah, exactly.

[Lawrence]

When.

[James]

When you were. Before you moved away from celebrity. Like, if you and a celebrity client didn't necessarily agree on something, like whether it was is a small thing or the whole concept? Like, would you let them, as the. As big brain in the. In the dynamic, would you let them kind of, like, fail on their own, knowing that they would eventually had to come crawling back like, julie, I'm so sorry. You're right. I up that stank.

[Julie Ragolia]

No, it's like, you know, then what does that do? It pleases my ego.

[James]

How would you negotiate if somebody was, like, not receptive to a good idea?

[Julie Ragolia]

I mean, I studied philosophy in school, so. So I can. I can make my argument.

[Lawrence]

She hits him with the Socratic method to get him in shorts on the red carpet.

[Julie Ragolia]

Exactly. No, I mean, you know, I just present the reasoning why. And if it doesn't go, it doesn't go. I mean, you know, there have been people who, you know, we were not the right fit to work together because my, you know, my ideas were maybe not received in the way or good. Yeah. Or just, you know, like, they were not ready for such a thing. I mean, the first time I styled Pedro Pascal was like, 10 years ago, honestly. Or nine, something like that, you know, and he wasn't ready at that time for what we then did a few years ago.

[James]

Yeah. So you mentioned that models are now more aware and conscious of, like, you know, their image and their. Their style. And you've been doing this for a while now, you know, across editorial, Runway. Celebrity, like we said, have celebrities or. Or famous people, have they gotten more in tune and aware with, like, how they want to express themselves and the image that they want to put out there?

[Julie Ragolia]

Yeah. I mean, I don't know if this is an answer to your question, but I thought it was really cute how, you know, Mads Mikkelsen walked the Zenya Runway a few seasons ago.

[Lawrence]

Killed it.

[Julie Ragolia]

And, you know, and Zenya, we've been putting older guys on the Runway for a few seasons, you know, because. Because it's a mirror to life.

[Lawrence]

To the customer.

[Julie Ragolia]

Yeah, to the customer. To life. You know, the people on the street, it's, you know, not everybody is 18, 19 years old, 6 foot 1, et cetera, et cetera. But. But Mads, you know, in going to the show after. In the next season, he. He said something quite cute about the fact that he's like, I feel like the models are more comfortable because, you know, they saw an old man like me walking, and they, you know, he's a very handsome.

[Lawrence]

Yeah, okay, man.

[James]

Humble, genius body of a dancer.

[Julie Ragolia]

Yeah. Literally. He still has the moves.

[James]

How does it. So, like, how does that work with bad Zenya yourself, Alessandra. Like, what's that dynamic? Like?

[Julie Ragolia]

It's fun. Honestly. It's so fun. Yeah. I mean, the current, the current Zenya campaign that just came out is. Yeah, I was hiding at the bottom of the boat. It was pretty much just me and Mads on this river, you know, with, with your initial driver too. But the driver and I are stuffed below. Yeah. And I'm low deck. Yeah. But, you know, but it's, it's literally I'm tiny, so I can fold up into a little ball. So, you know.

[James]

And then you what, like lint rolling up, like reaching, like.

[Julie Ragolia]

What do you mean? Occasionally I would just stick my hand up and so there'd be the occasional photo where this hand comes up and, and just pulls the back of the sweater down.

[Lawrence]

Spooky.

[Julie Ragolia]

Yeah, yeah.

[James]

Tight.

[Julie Ragolia]

Yeah, yeah, exactly. It's like, you know, you're riding a boat and things that naturally happen, but the little hand comes and goes and.

[James]

So is he someone that is like, contributing ideas or is he like, yo, fucking tell me what to put on?

[Julie Ragolia]

No, I mean, you know, the, the looks for the campaigns are a mix of the commercial collection, Runway looks and, you know, and things that everyone knows are going to look great on. Mads, you know, it's fun because he' have ideas about the film, you know, like just as you would a full, full length feature.

[Lawrence]

He's an expert, you know.

[Julie Ragolia]

Yeah, exactly. You know, so if there's, say, a line that he'll, you know, maybe imagine could be said differently or an action that can help the, the movement, he'll offer feedback, you know, which is quite cool because I'm really obsessed with the idea of doing a film now.

[James]

Oh, like costume design.

[Julie Ragolia]

Yeah.

[Lawrence]

Oh, the Next Frontier.

[Julie Ragolia]

Yeah.

[James]

It's now that they can be nominated for Oscars.

[Lawrence]

Yeah, right.

[Julie Ragolia]

Oh, that's true. They can. Yeah. I didn't even think about that. No, it's something that's. It's been on my mind for a while. I mean, I started at film school. Really. I thought I would be a director

[James]

initially and dropped out for to take FL to study philosophy. You're very unemployable.

[Lawrence]

Wow.

[Julie Ragolia]

I know. Exactly.

[Lawrence]

Big dreams from unemployment, Three roofs.

[James]

What. What type of movie would you want to work on? Or is there a director that you would want to work on, work with?

[Julie Ragolia]

Oh, boy. I mean, let's manifest it. Let's manifest it. I mean, Genica Bravo, I think, is amazing and I love her style. I would love to work with her. Akinola Davies is a friend and I think a brilliant, brilliant filmmaker. And if you have not seen my father's shadow, like, definitely see it, it's

[Lawrence]

putting it down on the website.

[Julie Ragolia]

Angelica. Wow.

[Lawrence]

Okay.

[Julie Ragolia]

Yeah, I hope it's still at the Angelica that I've recommended it. But, no, it's just visually beautiful. I mean, I could see, like, a Celine song, you know, kind of a film being in my wheelhouse, because, again, these are, like, human characters, you know, they're not larger than life. Like, I don't think I would be the best at, say, a period piece

[Lawrence]

or a Marvel movie.

[Julie Ragolia]

Yeah, I don't think I would be good at a Marvel movie at all.

[James]

Pretty Women. You want. You don't want to do, like, a Pretty Woman remake?

[Julie Ragolia]

Oh, I would totally do a Pretty Woman remake.

[Lawrence]

Okay.

[Julie Ragolia]

Are you kidding me? You know who did the original costumes for Pretty Woman?

[James]

What's that?

[Julie Ragolia]

Pretty Woman? The original costume costumes was Nino Chiruti.

[Lawrence]

Okay. Yeah, there you go.

[Julie Ragolia]

Yeah, I would.

[James]

Yo, directors, if you're listening.

[Lawrence]

Yeah, we're just running back old ip. Anyway, let's get Pretty Woman on the short list.

[Julie Ragolia]

Yeah, I mean, exactly.

[James]

You've also worked with contemporary artists like Marina Abramovich, Martine Sims, Miles Greenberg. How does working with contemporary artists and how they approach fashion, how does that differ versus, like, working with celebrity entertainers that are maybe be, you know, about image.

[Julie Ragolia]

Right. I mean, it's interesting because, you know, everyone has an idea of who they are. Like someone like Marina, you know, who loves fashion, she absolutely loves it, but she also understands fabric and how things will fit on her and how they will look on her, and she gets really excited if she learns of something that she's never known before, you know, and then Martine Sims, funnily enough, we were texting. She wants to be on the podcast pod.

[Lawrence]

Oh, whoa. All right.

[James]

Look at that.

[Lawrence]

People having people.

[James]

We love that artist. Listen.

[Julie Ragolia]

Yeah, yeah. It's funny because we were going to meet for lunch and we had to reschedule, and then. No, she was asking if I could meet a little later, and I was like, oh, I'm doing a podcast, and I didn't mention which one it was. Assuming. Assuming she wouldn't know, in all truth, you know.

[James]

No, you're right to assume that.

[Lawrence]

Yeah. That is absolutely factual. Or so we thought.

[Julie Ragolia]

Yeah. And then she asked me which one. When I said throwing fish, she's like, oh, I love it.

[Lawrence]

I love it.

[Julie Ragolia]

That's so sick.

[James]

All right.

[Julie Ragolia]

Yeah. So she would. Happily. She's got a lot of ideas, a lot of opinions.

[James]

But how Do I. How do, like, visual. Contemporary artists. Not visual necessarily, but, like, how do they approach fashion in a way that maybe is different than your everyday folks?

[Julie Ragolia]

Well, I mean, you know, in the case of Martine, we collaborated on a project. You know, the way she saw clothes and figuration was actually really exciting, you know, because even sometimes a fashion photographer won't watch how the clothes are draping necessarily. You know, they'll see the. The whole image. And for Martine, you know, she's so aware of her own self as, you know, a subject of her art.

[Lawrence]

Right.

[Julie Ragolia]

That she can see subject in a different way and how they interact with the couch, the wall, the color, et cetera, et cetera. So it was wonderful to work with her. Yeah. I mean, it was. It was really incredible to watch because I'm such a huge fan of her work. So that was really. That was really fun. I will give myself a little shout out. I got Shirin the shot to wear. To wear comme des garcon and lay on a floor. Yeah.

[Lawrence]

Career highlight.

[Julie Ragolia]

Yeah.

[Lawrence]

Cuz I'm kiss you on the floor.

[Julie Ragolia]

Oh, my God, I'm such a fan of hers. And she was adamant. No, no, sorry. She was not adamant. She was nervous about being styled, you know, because she has such a specific style and she is, you know, her. Her voice herself is such a huge part of her work. And. And so I was actually really nervous to. To meet her because I'm such a fan, but she loved these clothes. And then I was like, you know, it would look really good if you were lying on the floor. And she did it, and it was a beautiful image edge.

[James]

Wow.

[Lawrence]

See?

[Julie Ragolia]

Yeah.

[James]

Look at that.

[Lawrence]

Julie knows what she's doing.

[James]

Jedi mind tricked her. Yeah, you would look great on the floor. What about. We want to talk about how you ended up working with the homie Kartik on Kartik research. Like, how did that. How did that collaboration end up happening?

[Julie Ragolia]

Very organically. I. You know, so nine years ago, I had started styling Riz Ahmed. And when, you know, when. When first thinking about working with him to build his image, I really found it important to mix designers from India and Pakistan, you know, to. To root his heritage as well as to start to embrace bigger brands like the Prada, Gucci's, etc of the world. And you see that guy, the Indian

[James]

guy with the gold shirt?

[Julie Ragolia]

Yeah.

[James]

I'm talking about.

[Julie Ragolia]

No.

[James]

Okay, keep going. I'm gonna pull this out.

[Julie Ragolia]

Okay.

[Lawrence]

This guy does not need a stylist because he just drapes himself in gold.

[Julie Ragolia]

Oh, I Like, it.

[James]

This guy round because maybe because he was wearing a million dollars of gold. This is all real. I mean, this is real photo. It's not. AI.

[Julie Ragolia]

Wow.

[Lawrence]

Yeah.

[Julie Ragolia]

He's got so many necklaces on. Amazing.

[James]

Solid gold shirt. I don't know if he had a brand.

[Julie Ragolia]

Wait, a solid gold shirt?

[James]

I mean, it's like chain mail.

[Julie Ragolia]

Wow.

[Lawrence]

This is why he drowned, unfortunately.

[Julie Ragolia]

Yeah.

[James]

You know, Rip. But I don't know if his brand still exists. But maybe, you know.

[Julie Ragolia]

Oh, he had a brand and the brand was all gold.

[James]

No, I don't know if he had a bread. Maybe the jewelry brand.

[Julie Ragolia]

Yeah. No. It's funny because years ago, I used to head up the young patron galas for the Museum of Arts and Design, and we had done a metal ball, and I forget the designer at this point. I don't think they're. They're around any longer, but they're not dead. They're just not with a brand. But anyway, I borrowed a metal dress, and when I tried it on in the showroom, I was like, this is actually really comfortable. But maybe about, like an hour in, my shoulders started to cave and I started to get like.

[James]

Yeah, in the sun, you'll roast. Literally.

[Julie Ragolia]

Yeah. I mean, I was inside, but still, it's like. It was like a million pounds on my shoulders. So I'd have to sit down now and then, or I'd be having a chat and I would lean. Yeah.

[Lawrence]

So car tick. Right.

[James]

We gotta get back on.

[Julie Ragolia]

Back to car tick.

[Lawrence]

Sorry for the metal detour, folks.

[Julie Ragolia]

I love a detox. So, anyway, so in working with Riz and finding designers of Pakistani and Indian origin to mix in with high designer. I met Kartik in his first season of doing the collection. It was called Karu Research at the time.

[Lawrence]

You remember, we were there.

[Julie Ragolia]

Yeah. And, you know, and I would just start borrowing some clothes, and, you know, we would have little Instagram chats now and then. And then Mr. Porter was doing a mentor program, and I, through the course of it, became he. I became his mentor. Yeah. So, you know, so we would just meet and chat, and then it got to a project, and then it got to Runway, and then it gets to regular conversations to me texting Kartik to be like, you know, it'd be sick. Yeah. So. And it just sort of organically went from there, and. Yeah. I mean, now it's. I don't know, a couple years in.

[Lawrence]

Are you surprised at the kind of, like, meteoric rise? I mean, I know he's been doing this for a long Time. But in terms of, like, the real success, in terms of exposure, sales, like, does that shock you at all because of how specific and unique his vision is, or is that why he's so popular now?

[Julie Ragolia]

I think that's why. I mean, you know, Kartik functions as an independent designer as if he's a big house. And this is what's so brilliant about what Kartik research is about.

[James]

He doesn't pay insurance.

[Julie Ragolia]

I'm kidding.

[James]

I'm kidding. Kartik, you know, you pay your insurance.

[Julie Ragolia]

No, it's like he's genuinely building a house and working with artisans and, you know, and. And right now, and I hope this is not revealing something, but he's working. Knowing Kartik, I'm sure he's already spoken about it.

[James]

Probably.

[Julie Ragolia]

Yeah. You know, he's building a factory in New Delhi where he can actually, like, just control the means of his work and hire people and have artisans there and grow that much more, you know, and as the industry is changing, for an independent designer to have the ability to. To, you know, control their output like that, it's. It's brilliant. It's so smart.

[James]

So you're not really at the mercy of, like, I don't know, variables that are just completely outside of your control.

[Julie Ragolia]

Exactly. Yeah. He can, you know, he can have an idea and execute it.

[Lawrence]

The atelier, Right?

[Julie Ragolia]

Exactly. Exactly. He'll have his own atelier and, you know, and be able to. To control when everything arrives and how it's done and, you know, which then makes the fits that much better and stronger. You know, in launching women's wear, it gives more control. So, yeah, it's an exciting time. So. I mean, the clothes are amazing. You know, they're. They're so special, and the technique of. Of each garment is beyond. But.

[James]

And really nothing like, not. I mean, there's a pandemic of, like, you know, a lot of clothes looking the same. Like, you can't say that with cartoon.

[Julie Ragolia]

No, you really can't. He's in his own lane.

[Lawrence]

Yeah.

[Julie Ragolia]

And the store that opened in New York, it's just like, it's a. Yeah. It's a joy to walk into it. Like, you feel good. You feel that his. His universe when you.

[Lawrence]

Vibes.

[James]

For sure.

[Julie Ragolia]

Yeah.

[James]

Are there other brands right now that you maybe are keeping tabs on or are starting to work with or pull from that you think could blow up, like, on the level that Kartik has?

[Julie Ragolia]

Yeah, I think what Julian Louis is doing with Obero is amazing. You know, I mean, talk about A brand that requires study and that deserves study, you know, because even, even something that Julian's doing quite simply is not simple, you know, and then there are like these incredible techniques that he uses and you know, it's, it's just beautiful work. Actually, I was with him last night. A friend of ours was having was part of an event at the Bergdorf women's store and so we popped into the men's and he's got two of the windows.

[James]

Oh, wow.

[Julie Ragolia]

Bergdorf at the moment.

[Lawrence]

Yeah, it's a real arrived moment, you know.

[Julie Ragolia]

Yeah. He didn't know even really. Yeah, he was shocked. It was surprising. Like, hey, Bergdorf, tell the designers that they're closed. Especially the indie ones.

[Lawrence]

That's a moment.

[Julie Ragolia]

Exactly.

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[James]

Should he get paid for that?

[Lawrence]

They already bought the clothes. Yeah, we're paying you an exposure, but

[Julie Ragolia]

it's so mutually beneficial. Then the designer is going to put it on their Instagram, talk to their customers or relevant. Exactly.

[Lawrence]

They're aware that it's happening.

[Julie Ragolia]

Yeah. Bring more people.

[James]

That's crazy. Maybe. Maybe he doesn't follow Bergdorf and their DM is like stuck in requests. Maybe. Yeah.

[Lawrence]

Although the can't be tagged in photos.

[Julie Ragolia]

Yeah, exactly. I love the idea that Bergdorf would be tagging and DMing. Hey, by the way, check DM. Yeah, exactly. That happened to me today.

[James]

Oh yeah.

[Julie Ragolia]

Somebody went on an old post and said, check your DMs.

[James]

It's a, it's a tried and true method.

[Lawrence]

When in doubt, check dms.

[Julie Ragolia]

Check dm.

[Lawrence]

Leave a comment. You never know.

[Julie Ragolia]

Sometimes we just need to be told.

[James]

You get a lot of kids floating into your DMs. Whether it's like, hey, check out my brand or like, how can I work for you or with you?

[Julie Ragolia]

Yeah, I do, I do all the time. No, I try to reply to everyone. Honestly. Yeah. Especially if they have a brand, you know, I'm at least going to look.

[James]

What percentage of those brands suck? What percentage of them are good?

[Lawrence]

Let's rephrase the question.

[Julie Ragolia]

It's 50. 50.

[Lawrence]

No way.

[Julie Ragolia]

No, really, there are a lot of good designers who really just don't know how to get the exposure, you know, and. And I wish there were more platforms and more. There was more ability for them to have more exposure, you know, I mean, you guys talk about brands, like, from high to low, which is.

[James]

Doesn't work. Applying for the cfda. Hey, y.

[Julie Ragolia]

You.

[James]

Does this work for them? Like, do you actually. You're like, you know what? I. With this. Let me actually use this in my next gig. Editorial.

[Julie Ragolia]

Sometimes. Yeah. You know, it's like if. When. When there's a celebrity, it's easier to bring that stuff in. Like, you know, I was always putting independent brands and, you know, like I said, Indian and Pakistani brands on Riz or, you know, indie brands on Pedro, Lakeith, etc. Etc. You know, I would do it all the time, but, you know, editorially, it's a little bit more difficult because, you know, you often are relegated to advertisers and such.

[James]

You know, I love your brand. You're blowing up 500 followers. Amazing. Can you pay $50,000 for this ad in Vogue? Then I'll. Then I'll put you on.

[Lawrence]

Can you sponsor this GQ happy hour so that I can get you in the next photo shoot?

[James]

Can you sponsor the Met Gala?

[Julie Ragolia]

Yeah, yeah, exactly.

[Lawrence]

Do the politics of editorial hinder you to a degree where you ever get, like, fed up or pushed to a certain breaking point? Or is it like, that's the nature of the beast?

[Julie Ragolia]

It's the nature of the beast. And quite frankly, it's my job to do my job well, even given the constraints, you know, if I have to use X brand, Y brand, Z brand, I'm going to choose wisely and make it within my story.

[Lawrence]

Make that shit look good.

[Julie Ragolia]

Yeah.

[James]

But I do like having those constraints where it's like, okay, here's the sandbox. Let me. Let me start playing. Let me get creative within the parameters.

[Julie Ragolia]

I mean, of course, when you have a story idea and you want to execute the idea, if you then need to execute it with a brand that, say, made florals, when the whole story is stripes, right? You know, and you have to figure out how to suddenly make a floral work in your stripe.

[James]

Florals for stripes.

[Lawrence]

Yeah.

[Julie Ragolia]

Yeah.

[Lawrence]

Groundbreaking next level shit, guys.

[Julie Ragolia]

Yeah. No, but then it's on. It's on me, the photographer, hair and makeup, you know, to think about how to do it. Like, how does the stripe come into this random floral, you know, Right. You do it through hair choice, makeup choice, etc, you know, or where the images. Yeah. You know, and so it's like. It's not a hindrance. You know, I hear a lot of my peers complaining about it all the time. It's like. It is what it is.

[James]

Shut up.

[Lawrence]

In style, what would you like to complain about? There's got to be something, right?

[Julie Ragolia]

Well, I already complained about Hollywood.

[Lawrence]

Okay. Yeah. The divorce from the industry.

[James]

Totally. Let's take it back a little bit. Let's hit rewind. On the VHS. What was it like styling an MTV in the 2000s?

[Julie Ragolia]

Oh, it was so funny.

[James]

What exactly were you doing?

[Julie Ragolia]

I was styling the VJs.

[Lawrence]

Oh my God.

[James]

Jesse.

[Julie Ragolia]

Yeah. Yes.

[James]

I once partied with him at a Sundance in Salt Lake City or Park City. Was. This is. He looks a little rough. This is past his prime. Yeah, but you were styling the DJ as the vj, so.

[Lawrence]

Carson Daly too?

[Julie Ragolia]

Carson Daly and Jesse were my projects.

[Lawrence]

Wow.

[Julie Ragolia]

You know, cuz we each had our VJs that we would dress Pokemon.

[James]

Did you also style just Jesse or also the 8 the 8th street kids?

[Julie Ragolia]

No, it was just Jesse. Yeah. Kurt Loader and Carson Daly.

[Lawrence]

Legends only.

[Julie Ragolia]

Yeah, exactly. Kurt. I was so nervous around Kurt. You know, like V neck sweaters and.

[James]

It'll be good.

[Julie Ragolia]

I mean, it was just. I was so nervous because it was kind of interesting because we. Well, first of all, how I even got the job was crazy because I had no intention of being a stylist at all. I was literally like a philosophy student. I was taking pictures and, you know, I had this roommate who told me I could never do it, like, because I would do little shoots with him. Just, you know, to. Yeah, yeah, that guy.

[James]

What's he up to now?

[Julie Ragolia]

I don't know.

[James]

Not cleaning cars.

[Julie Ragolia]

Not as much as. But no one.

[James]

Your three homes.

[Julie Ragolia]

Yeah. That sounds so bougie. It's not that bougie.

[Lawrence]

He was a hater.

[James]

He's your OG deserves it.

[Julie Ragolia]

He's my OG hater. Yeah. But in a way I have to be grateful to him because he. He basically said I can never make it in fashion. And I was like, well, fudge you. And I did.

[James]

Oh, yeah.

[Julie Ragolia]

But yeah. And so, you know, at the time I literally was like, yeah, I'll show you. And I liked music, you know, and so I. Tv. I like tv. Actually, I really didn't like tv. I didn't grow up with much television.

[James]

You only saw the M in mtv.

[Julie Ragolia]

Yeah, yeah, Exactly.

[James]

Hell yeah.

[Julie Ragolia]

Yeah.

[James]

Say less.

[Lawrence]

I don't Even the rest of the acronym, I'm in.

[Julie Ragolia]

I mean, you know, I grew up on Video Music Box, which, like, you know, me and five other people know about. But five, huh?

[James]

Channel 35.

[Julie Ragolia]

No, it wasn't. Was it 35? I thought it was 19, but I don't know.

[James]

That was VH1.

[Julie Ragolia]

Oh, I don't know. I don't remember.

[James]

Channel 35.

[Julie Ragolia]

Wow.

[James]

Fellow Blue late at night.

[Julie Ragolia]

Yeah, exactly.

[James]

So how did. So then you end up at mtv?

[Julie Ragolia]

I ended up at MTV because I had done this, like, editorial for something minor and whatever. And there was a. A gal who was still, like, a dear friend. She's like a big sister to me who was working at mtv, and she's like, this is the kind of energy we need in here. And so I just came with my little book of, like, random model tests and this one editorial. And the head of the wardrobe department was like, oh, someone showed this to me. And then there I was at mtv suddenly, like, hired. I didn't know what it entailed. And this same woman, Kat, who is still like, a big sister to me, she showed me the rock ropes. She showed me how to pull clothes. She showed me how to call PR people. Like, I knew nothing.

[Lawrence]

You're learning on the job.

[Julie Ragolia]

I was totally learning on the job because prior, I had only been, like, buying and returning clothes from Century 21.

[Lawrence]

Don't take the tags off.

[Julie Ragolia]

Yeah, exactly. Don't steam that. Yeah, yeah. And so I had never been in a showroom before, and suddenly I was going into showrooms to pull clothes, and I was going to fashion shows and sitting front rows.

[Lawrence]

Damn.

[Julie Ragolia]

Yeah. It was super crazy. And I mean, I. I almost.

[James]

The brands wanted to style Carson.

[Lawrence]

We have to get this cradle on Carson at all costs. Julia Julie, front row.

[Julie Ragolia]

Exactly. Yeah. I mean, no. And that was when I met Blondie. Yeah. At a Betsy Johnson show. It was my first show on front row at. Actually, I had gone to fashion shows prior because I was sitting out front outside of Bryant park, and there was a guy who. Who was working at the tents. Yeah. And, you know, and he was super cute. We were kind of giving each other eyes and stuff. And he came over and was chatting with me, and he gave me his pass. And so there was a season where I was going to fashion shows with this guy's pass, just going. And, like, you know, being on the standby list, getting a seat and stuff like that. But this was my first time going to shows legitimately being.

[Lawrence]

Right.

[Julie Ragolia]

Yeah. Being invited. Um, so it was kind of a Trip. But I still was not convinced I wanted to be a stylist, honestly. I was still in college. I was like, you know, I was part intrigued by the lifestyle of it, but also part grossed out by it.

[James]

Okay. You know, I think we're right there with you. Yeah.

[Julie Ragolia]

Yeah.

[Lawrence]

Well, I mean, VJs. I'm sure there's a younger portion of the audience that doesn't realize that they were like the first influencers or some of the first influences where it's like they're very visible. Like Carson Daly with trl. I was like the biggest show.

[James]

Show.

[Julie Ragolia]

Exactly.

[Lawrence]

You know, for a generation of people. Did you even know, like how impactful the work you were doing was in a way?

[Julie Ragolia]

Because going into the 1515 Broadway building, there would be crowds.

[Lawrence]

Right, okay.

[Julie Ragolia]

Outside all the time, just screaming, you know, usually for a guest or, you know. Yeah, exactly.

[Lawrence]

Country boys.

[Julie Ragolia]

Yeah. Like they would just be screaming outside.

[Lawrence]

So there's no Instagram comments to screaming. So you had to do it in person.

[Julie Ragolia]

Yeah.

[James]

Do you work with Simon Rex?

[Julie Ragolia]

No.

[James]

He's a bj. Yeah, a little.

[Julie Ragolia]

I think he was after. I think he was after. Yeah.

[James]

Crazy.

[Lawrence]

That's.

[James]

Was it a wild. Okay. MTV in the 2000s. Was it a wild, wild place, Wild West?

[Julie Ragolia]

No, it was. It was really more organized than you would think.

[Lawrence]

Like that's not as cool.

[Julie Ragolia]

Yeah. Sorry to kill the myth.

[Lawrence]

No, it's okay.

[James]

No, because blown lines with Carson Daly while dating what's her name from American Pie.

[Julie Ragolia]

Oh yeah.

[James]

Reed.

[Julie Ragolia]

Tara Reid. Yeah. No, I mean, honestly.

[James]

Yo. I've beef with Carson daily, by the way. Oh, really thought about this. If I may indulge.

[Julie Ragolia]

Go for it beef.

[James]

My one sided beef with Carson Daly in right after 911 happened. My school was right. My high school was right there. I got invited on to this like what do the children think type show, right?

[Lawrence]

Yes.

[James]

And 20 kids and Carson Daly is like the youth. You know, he knows what the youth is think talking about. I was mad nervous and like I raised my hand because there was some kid me like, we got to kill all the Muslims. Like they. It's a. It's a culture of violence. And I raised my hand like I think that we should maybe clearly like they're mad at us and we should like figure out what, like what we did before we like go bomb them. And this is right after 9 11. So everyone's like, yeah, go to war, invade Iraq, WMDs. And Carson Dale was like in so many words, like, shut the up, get the tanks rolling. Let's Go.

[Julie Ragolia]

Really?

[Lawrence]

James invented woke one.

[Julie Ragolia]

Yeah.

[Lawrence]

Carson Daly, warmonger.

[James]

I don't know if Terry was in the audience and she was cold and my dad gave her my jacket to wear.

[Julie Ragolia]

Wow.

[Lawrence]

What a gentleman. Mr. Harris.

[Julie Ragolia]

No, but I don't know if I'm.

[Lawrence]

Yeah. Right.

[Julie Ragolia]

I don't know if I'm placing that memory in my mind or if I saw it, but I kind of remember this.

[Lawrence]

Are you there there?

[Julie Ragolia]

No, I wasn't there. But it was televised.

[James]

Yes.

[Lawrence]

This is on YouTube right now.

[James]

It was like, let's see, September 11th. So like September 18th or something. Yeah, 2001.

[Julie Ragolia]

I don't YouTube.

[James]

I was very hot.

[Julie Ragolia]

I kind of feel like I have a memory, but I might have just taken your memory and supplanted it into my brain.

[Lawrence]

Mandela affected yourself.

[James]

Yeah. She works. So, okay, so you're in. You were. You were immediately seduced by the perks of the job, which was talking to cute boys outside of the tents.

[Julie Ragolia]

Yeah.

[James]

Get invited to, like, you know, hobnob with stars. What are the best perks of the job now?

[Julie Ragolia]

Honestly, the. The dialogues with designers.

[Lawrence]

It's not the free clothes.

[Julie Ragolia]

I don't get as much free clothes as. All right. I get a lot of.

[Lawrence]

Got her. Nice try.

[James]

Julie, what percentage of your closet is Zenya? Which is. What percentage of your closet? Zenya. Which is something that we would be very jealous of again, Alexandra?

[Julie Ragolia]

Maybe about 25, 30%.

[Lawrence]

That's a good. That's a good chunk.

[James]

That's a lot lower than. Than I thought. Really? Yeah.

[Lawrence]

One in four Zenya pieces is one

[Julie Ragolia]

in four Zenya pieces. I am a fashion stylist. I love clothes. That's a lot.

[James]

What was the last non. What was the last piece of clothing you purchased?

[Julie Ragolia]

These Adidas Liverpool trackies. When I was in Liverpool. Yeah.

[James]

Okay. Okay. What was like, the last, like, fashion piece you purchased?

[Julie Ragolia]

Okay.

[Lawrence]

No, like real clothes, Julie.

[Julie Ragolia]

You mean not the Supreme T shirt I just bought.

[James]

That's.

[Lawrence]

I mean, my last piece was from Supreme.

[Julie Ragolia]

Yeah. Actually. But if I have to go fashion, I guess it was. I bought an or sweater vest.

[James]

Oh, very nice color.

[Julie Ragolia]

Red.

[Lawrence]

Oh, primary red.

[Julie Ragolia]

Red, red, red, Red.

[Lawrence]

Banger.

[Julie Ragolia]

Yeah. High necked, no wool, high necked, multiple buttons. Just. It was a total whim. I was having a drink with Jay Massacre guy. Yeah. And we were walking along 8th street and I did not know that there was a clothing store. The name. I'm not.

[Ad Read Host 2]

Huh.

[Julie Ragolia]

Recalling. See. Yeah.

[Lawrence]

Can't even. Right. We're just over there.

[Julie Ragolia]

Yeah. It kind of. He was like, we Were talking and he's like, oh, have you ever been in this store?

[James]

Like, did you go downstairs?

[Julie Ragolia]

Yeah.

[James]

Was it qua.

[Julie Ragolia]

Maybe?

[Lawrence]

Yeah.

[James]

Even like Christopher Street?

[Julie Ragolia]

No, no, no, it was on 8th Street.

[Lawrence]

I think Cueva has orally either.

[Julie Ragolia]

Yeah, it was on 8th Street. And there's a women's store. And then a. On the opposite side is a men's store. Store. And when he said about the store, my brain went to Untitled. Do you remember Untitled? The store that sold, like, Vivian Westwood and stuff, like in New York back in the day? Yeah, it was on 8th Street.

[Lawrence]

Huh.

[James]

It was used to be where you would buy fake IDs and whippets before 9 11.

[Julie Ragolia]

And they also had health food. Health food. Health food shop. Evas that you can get health food.

[Lawrence]

Whip it or health food.

[Julie Ragolia]

Yeah, exactly. It was one of the only place to get like. Like a healthy meal, you know, like that and dojo. That was like, affordable, healthy. Growing up in New York, is dojo still around? No, I wish someone should bring it back. I would so happily go back to a dojo. Although I don't think it would be a 2 Mercer Street. Well, there was one on Mercer street, but the real one was the St. Mark's one.

[Lawrence]

Okay.

[Julie Ragolia]

Yeah.

[James]

I worked a summer for Sunrise Mart. I would have to deliver soup to Dojo, pick up soup at the Mercer street dojo, and then, like, bring it to, like, another restaurant that the guy owned.

[Julie Ragolia]

Ah, wow.

[James]

They spilled the grease once and it st. But okay, so you bought the orally.

[Lawrence]

You passed the store and just popped in and we're like, me and Jay are going shopping. Like.

[Julie Ragolia]

Yeah, well, Jay carried on. I went in and within. Yeah, exactly.

[James]

You're just trying to get away from Jay.

[Julie Ragolia]

No, no, but literally, I was like, first of all, how did I not know about this store?

[James]

Yeah, what store is this?

[Lawrence]

We don't even know.

[Julie Ragolia]

Yeah, it's on 8th street between. Between 5th and 6th. 6th.

[Lawrence]

Okay.

[Julie Ragolia]

And they had an incredible buy. They had really great brands. A lot of indie brands and. But then mixed in with, like, Jill Sander and things like this. But yeah, so I. I literally within five minutes, bought this.

[Lawrence]

Or that's how you know it's good.

[Julie Ragolia]

Sweater vest. Yeah. Okay.

[James]

Yeah.

[Julie Ragolia]

I wouldn't even remember because they have

[Lawrence]

a men's and women's.

[Julie Ragolia]

Yeah, yeah.

[Lawrence]

Okay. New York. I thought they were more like dark fashion Rick and. And like, maybe they changed their buy as the trends.

[Julie Ragolia]

It was. Yeah, I mean. I mean, there was definitely Rick in there and it was, you know, a mix. But There was also colorful or elite, which is maybe even why I bought it. Because it was like in the sea of Rick.

[Lawrence]

It was like speaking to me.

[Julie Ragolia]

Yeah. What is this bright thing?

[Lawrence]

Yeah. Where is you?

[James]

What stores you shop at the most?

[Lawrence]

Are you even a big shopper?

[Julie Ragolia]

I'm not a big shopper. There are people who would say, you are such a liar, Julie. No, you know what it is? I'm not a big shopper. Like, I don't make the effort to shop, but then I will shop, you know, like.

[James]

Like sound like a big shopper.

[Julie Ragolia]

No, if I see something like, I don't know, like supreme or even when I was in Liverpool, like, I bought like, you know, an 84 away kit shirt, these trackies, like, real head, you know, and two other tops, stuff like that. Like, so I walked out of a Liverpool store with four items and you walked out.

[Lawrence]

Never alone.

[Julie Ragolia]

I walked out. Never alone.

[Lawrence]

I know. My.

[Julie Ragolia]

Yeah. Nice.

[Lawrence]

It's for Robbie.

[Julie Ragolia]

Yeah. I don't know, you know, like, if I see something in the supreme, you know, drop. I will get it.

[James]

What supreme do you own?

[Julie Ragolia]

I own a bit.

[Lawrence]

Hell yeah.

[Julie Ragolia]

Yeah, I own quite a bit. Yeah. I mean, you know, I went to high school with Aaron Bond. Like, his sister's one of my oldest friends. Yeah. Shamar.

[James]

Yeah, she's awesome.

[Julie Ragolia]

She's so awesome.

[James]

Yeah.

[Julie Ragolia]

Yeah.

[James]

She was friends with Minya, I don't know. And Deirdre at bpmw.

[Julie Ragolia]

Oh, yeah, of course. Yeah, exactly. Yeah.

[Lawrence]

Bosses in fashion.

[Julie Ragolia]

Yeah.

[James]

Have you made a purchase recently that you kind of regret?

[Julie Ragolia]

One of the supreme things I bought.

[Lawrence]

Okay, let's get it.

[James]

Margiela hoodie.

[Julie Ragolia]

No, I didn't get anything from the Margiela. No, I bought a baseball tee with orange and black tiger stripe sleeves.

[James]

Okay, cool.

[Julie Ragolia]

Because I was like. I put it on and I was like, oh, I look like Tony the Tiger. Like, no heel is gonna make that look cool. It was not great.

[Lawrence]

Yeah.

[Julie Ragolia]

Yeah. Okay, so that then I'm trying to think, wait, there's a brand that I buy that. That I. I shouldn't mention because I feel bad because every single time I buy anything from this brand, I immediately return it or I sell it.

[James]

But you haven't learned your lesson yet.

[Julie Ragolia]

No, that's the thing.

[Lawrence]

You're going for punishment.

[James]

Is it? Does it? Look, because I imagine. Are you a big online shopper?

[Julie Ragolia]

Not really. But then if there is something that calls me, I'll just buy it.

[Lawrence]

Right.

[James]

I think, like, big brains like us, like, we know that online online shopping is not. Is Dangerous.

[Julie Ragolia]

Yeah.

[James]

Is it that it always, like, what attracts you to it? Even though you know it's bad, it's bad.

[Julie Ragolia]

It's bad for me.

[James]

Like junk food, you know it's bad for you.

[Julie Ragolia]

I know I'm not gonna want it, and yet I still am.

[James]

Like, is it just merchandise? Yeah.

[Lawrence]

What is. What is it about?

[James]

Cheap as fuck. What is it?

[Julie Ragolia]

I.

[Lawrence]

She isn't it?

[Julie Ragolia]

No, no. You know what it is? I. I love irony in my clothes. Like, I genuinely. I think that's why I mix things that are know, hence why I'm wearing Zenya with, you know, with Adidas and a pair of heels. Like, I like things that are a little bit wrong. And so with this particular brand, there's something about it that it's so not me. That I always want to make it me and find my way to do that.

[Lawrence]

I can fix this.

[Julie Ragolia]

Yeah. Yeah. And not that it's wrong. It's just not my brand. It's wrong for me.

[Lawrence]

I can't wait to hear what. What brand is off.

[Julie Ragolia]

Mike.

[James]

Even after all this time, next expertise and putting in your 10,000 hours, you're still can be seduced by brands that you. It's. You don't even really know thyself quite just yet.

[Julie Ragolia]

That's the joy of fashion, is not knowing yourself, figuring it out. Yeah, exactly. I mean, of course I know that I'm gonna love everything at the Row or, you know, Phoebe, I'm gonna love it.

[James]

But new Phoebe, do you have?

[Julie Ragolia]

I don't have a ton. I have. Have a pair of trousers and a pair of shoes. That's it. Yeah.

[James]

Is it fun? Do you ever style with her stuff?

[Julie Ragolia]

I just recently did. It's not always easy to get samples. So when you get Phoebe samples, I better use this.

[James]

Is it really fun to use your stuff and does it mix well with other brands? Because it's so another one of those things that is seemingly. I don't know, we're not experts, like, very singular.

[Julie Ragolia]

Well, first of all, you're not allowed to mix it with other brands.

[Lawrence]

Ah, read the fine print.

[Julie Ragolia]

Yeah, got it. Yeah.

[James]

Which he had to toe.

[Julie Ragolia]

Yeah, exactly.

[James]

Covered in people.

[Julie Ragolia]

Yeah. But it is fun because it is, you know, it is so elusive that when you have it, you want to touch it, you want to use it.

[Lawrence]

It's definitely part of the appeal.

[Julie Ragolia]

Yeah, exactly. I think that's the brilliance of what Phoebe has built for herself in this iteration. You know, that's even different than when she was doing Celine.

[James]

Absolutely. Anti dressing room. Stolen Valor. Where you take a picture yourself trying something on and post it because it's like, cool. You were in the store?

[Julie Ragolia]

Yeah.

[James]

The only time I came to that was when I. When I was wearing a Phoebe Filo women's jacket. I was like, oh, yeah, sick. Yeah.

[Julie Ragolia]

Did you want to buy it?

[James]

Yeah, but I don't have $8,000.

[Julie Ragolia]

That's the thing.

[Lawrence]

You're talking to two guys with one roof each.

[James]

Okay.

[Lawrence]

What show you're on one day.

[James]

You've kind of alluded to your personal style. You said, you said tomboy dimensionality.

[Ad Read Host 2]

Wrong.

[James]

How would you. Let's talk about it. What's your personal style? Describe that.

[Julie Ragolia]

It's like a mix of school marm, skater and, I don't know,

[Lawrence]

old man Italian magnet.

[Julie Ragolia]

Yeah, exactly. Yeah. Yeah, Great.

[Lawrence]

That's a great juxtaposition right there.

[James]

You kind of like have arrived at that.

[Julie Ragolia]

I think I've always had a little bit of it, you know, even as a kid, like, even in periods where I was anti fashion wearing a uniform of khakis and black shirts, like, I always had a bit of this essence. Yeah. About. About the way I approach clothes. Yeah. I mean, you know, like I said, I grew up wearing boys clothes, you know, so like, it was always kind of natural. I'm a New York City kid, so, you know, so skater culture, goth culture, women, you know, like everything under the sun, it's all in play. Yeah, it's all in play. So, you know, so I'm inherently confused by nature. Yeah.

[Lawrence]

Would you say that your personal style then is still evolving or have you kind of reached like a destination which we know is like not.

[James]

Is.

[Lawrence]

Is the anthesis, the personal style, but where you. Do you feel like you're on a journey still or you, you're like, I've hit my sweet spot.

[Julie Ragolia]

No, I mean, I definitely feel like I'm always on a journey, you know, like, like I said, like being in Liverpool this weekend suddenly has like, these are my new favorite pants. Like, you're going to see me wearing these a lot and because they're. They're slim, but they're easy.

[James]

And like, we can flare them out with them.

[Julie Ragolia]

You can flare them out with the zip. Exactly.

[Lawrence]

Freak them.

[Julie Ragolia]

Yeah. And you know, there's just like little color pops on them you can do it with. I mean, I was wearing it yesterday. I was wearing them the day before yesterday with like a brown Zenya Bl and it totally worked, you know, and just kind of. I love, I love loving pieces and then visiting them in different iterations. Of my personality.

[James]

Have you ever had a personal style phase that now looking back on, you can be like, oh, that sucked. No, but you always have that shit on. You're thinking.

[Julie Ragolia]

I mean, okay, there are two things.

[Lawrence]

Here we go.

[Julie Ragolia]

That come to mind. So. So my parents. My parents moved to Florida when I was 15, and so I. I've kind of been running my own game since I'm 15. Oh, wow.

[James]

See it up here.

[Julie Ragolia]

Yeah.

[Lawrence]

Wow, look at that last key kid. For real.

[Julie Ragolia]

Yeah. Yeah. I didn't want to move. First of all, I didn't want to move to Florida. Second of all, I wasn't going to move in my last year of high school, you know, so.

[James]

Literally living Larry Clark's kids.

[Julie Ragolia]

Yeah, exactly.

[Lawrence]

What you were senior at 15 years old.

[James]

High school.

[Julie Ragolia]

Sixteen. I started. Yeah. I turned 16 when I was a senior. High school, South Shore High School in Brooklyn.

[James]

Okay.

[Julie Ragolia]

Canarsi.

[Lawrence]

Okay. Smart kid over here.

[Julie Ragolia]

One of the top 10 worst high schools in the entire wonder.

[Lawrence]

They accelerated you. They're like, well, listen to all these.

[Julie Ragolia]

But no, I actually really got a good education. I was talking to my brother about this the other day. Day. Like, I was just talking about Shakespeare and, you know, and I have a love of Shakespeare that I learned from a teacher in one of the top 10 worst high schools in the entire US so shout out Brooklyn.

[James]

Ryan Gosling and Half Nelson.

[Julie Ragolia]

Yeah.

[James]

Okay, so why is she drunk? When you. When you're 16, you dressed like shit. What's.

[Julie Ragolia]

No, no, no. So I basically, you know, I. I started at NYU and colored my hair purple and was working in a vintage store. And then what era?

[James]

Like, what are you around? What time of the. Was this?

[Julie Ragolia]

2000s, late 90s.

[James]

Okay.

[Julie Ragolia]

So then I. Confusing time, huh?

[James]

A confusing time.

[Julie Ragolia]

A confusing time. But anyway, I bleached my hair. You know, I have, like, black hair, and I bleached it and dyed it pink, and I went to Florida with pink hair, which was fine and, like, a vintage blue pajama dress. I looked like Raggedy Ann. So.

[Lawrence]

Yeah, so that was not a hit.

[Julie Ragolia]

That was not a hit. But my hairdresser, who's still my hairdresser now.

[James]

Wow.

[Julie Ragolia]

Yeah. Like, so my mom.

[Lawrence]

Relationship.

[Julie Ragolia]

Yeah. My mom worked in a hair salon. And so Robert, who was in a death metal band, and like, the coolest dude in Tampa, Florida, cut my hair into one of those reverse bobs, you know, where it's short in the back, shaved and like, you know, cut shorts down.

[Lawrence]

Now it's like a Karen haircut, honestly.

[Julie Ragolia]

Yeah, exactly. Exactly. But mine was bright pink. And, you know, so he actually, like, cut all the dead bits off from my bleaching and made it look cool. And then at a certain point, my grandmother was like, we're going to the beauty parlor and we're coloring your hair brown. And they made my hair like. Yeah, they made my hair so mousy and awful. And then I had to get my passport photo.

[Lawrence]

Oh, no.

[Julie Ragolia]

Yeah, yeah. So for a few years, I was stuck with this very awful haircut that, like a bunch of old women in Canarsi.

[James]

It made you go even harder.

[Julie Ragolia]

Yeah, yeah, exactly.

[Lawrence]

Here's a million dollar question in terms of regrets, and there might not be any. Is there a red carpet fit that you've put a client in at any point? We're looking back. You were like, I wish I could have that one back.

[Julie Ragolia]

Not for the fit, but for the reaction to the fit.

[Lawrence]

The death threat.

[Julie Ragolia]

Yeah, the death threat. Acne shorts.

[James]

Okay.

[Julie Ragolia]

Boots.

[Lawrence]

Okay. So that's the one that maybe knowing hindsight being 20 20.

[James]

Yeah, got it, Julie. Styling starts with yourself. How do you go about styling yourself every day?

[Julie Ragolia]

It's. It depends. It's like some days it's literally the hanger that's poking out. And from there, everything else builds. I tend this sound. This is going to sound really silly, but sometimes I'll just, like, think of an outfit, you know, in the morning.

[Lawrence]

Join the club.

[Julie Ragolia]

Yay. Okay.

[Lawrence]

Yeah, that's normal. If you love clothes, you think about wearing them.

[Julie Ragolia]

Yeah. And like. But I'll suddenly think of, like, a piece that I own and like a pant or a top or a jacket or something. And I'm like, oh, that. That could actually be weird and cool to try together.

[James]

Let's build something around that.

[Julie Ragolia]

Yeah.

[James]

And you build around that. Or you're like, oh, does everything kind of just, you know, come together, like opposite Optimus Prime?

[Julie Ragolia]

Yeah. It's like I'll suddenly have a vision of myself in some piece or like, like head to toe dressed in something, and I'm like, let's try that and I'll do it. And it takes because I don't take a long time to get dressed. Like, I don't like to put a lot of effort into my clothes. I like that I have clothes that can function in whatever iteration of me I want to then become. I mean, don't get me wrong, I have, like, stuff that I keep trying to figure out. Like a Dries gold tank top. Speaking of the gold man.

[James]

Yeah. Stay away from rivers.

[Julie Ragolia]

Yeah, exactly.

[James]

Don't wear that on the boat with Max.

[Julie Ragolia]

Yeah. Yeah. It's like this gold paisley ish. Like. Like, literally gold thread, you know, Sounds very drees. Yeah. It's super dries. And, you know, and I bought it in a vintage store I don't know how many years ago, and I've maybe. Maybe worn it twice.

[Lawrence]

Okay.

[Julie Ragolia]

You know, but it's still there in the closet, and I want to figure it out.

[Lawrence]

You're gonna find its purpose eventually.

[Julie Ragolia]

Yeah.

[James]

It's like a challenge. It's like a Rubik's Cube you haven't figured out yet.

[Julie Ragolia]

Yeah, exactly. And sometimes it's fun to do that. Like, what am I gonna wear this piece with? And how am I gonna go, you know, get my groceries in this gold tank top?

[Lawrence]

You know, very stylishly. That's how you're gonna get.

[Julie Ragolia]

Yeah. But, like, you know how to make it normal.

[James]

Yeah. Do you have a grill that you haven't yet acquired but you've been chasing for years now?

[Julie Ragolia]

You know, it's kind of a silly, silly thing, but I had this cashmere Hermes scarf that tied. You just had to go once, and it was the perfect length that it just, like, did this, and it worked with everything. It was super thick, and it just. It was so chic, like, kind of. You know, when you look at the Saint Laurent women. Women's. The bow, how the bow just kind of stays out. This scarf was a bit like that. And I have been. I left it. I left it in a hotel restaurant.

[Lawrence]

Brutal.

[Julie Ragolia]

Brutal. And it was in New York City, and I tried to go back, and I have been trying to find this scarf since.

[Lawrence]

Wow.

[Julie Ragolia]

Yeah. So it's. It's not like, you know, some major crazy piece. Oh, I want this. It's like this very particular scarf.

[Lawrence]

It's almost worse because you had it and you know how special it is versus, like, the theoretical grail. It's like, I can't afford it.

[James]

I never will.

[Lawrence]

You don't know what you're giving up.

[Julie Ragolia]

Yeah. And, you know, and it's like the way it would enhance an outfit because the bow would just kind of go out in this way, you know, so you can wear it, like, with thick knitwear, and you just look like this. I don't know, this form sculpture.

[James]

Better to have swagged and lost than to have never swagged.

[Lawrence]

That is a fact.

[Julie Ragolia]

Exactly.

[James]

But also, that sucks.

[Julie Ragolia]

Yeah.

[James]

You don't have friends at Hermes. I can only.

[Julie Ragolia]

No, I. I asked them. I, like, I called all various fake. No, no, it was definitely a real one. But no, but it's really, it's really difficult to find Hermes pieces also because the stores don't all have the same buy.

[Lawrence]

Yeah.

[Julie Ragolia]

So, you know, it's like I would have to, what, call every Hermes store.

[James]

Where'd you get this one? Do you remember?

[Julie Ragolia]

From a Hermes.

[James]

No, but like, do you know. Oh, so.

[Lawrence]

Oh, from.

[Julie Ragolia]

It's from. Yeah, so I. So I actually went to them first because I was like, look, I'm happy to buy.

[James]

Right?

[Julie Ragolia]

You know, if there are more of

[Lawrence]

these in existence, just point me in the right direction.

[Julie Ragolia]

Yeah, Like I, I worked really hard to try and get this scarf dude. Yeah.

[Lawrence]

One on one, maybe. And whoever stole it from you, they don't even know what they have.

[Julie Ragolia]

They don't even know what they have.

[James]

You think they're sold? You think they're still in New York because it's on site if you see them?

[Julie Ragolia]

I don't know. It was a hotel.

[James]

It could be any old ladies out there with a horse scarf hands on you. Besides Zenya, what are the brands that are most represented in your closet?

[Julie Ragolia]

Let's see. Zenya, the Row Supreme, Kartik, Palace Skate. I wear a lot of Palace Skate.

[Lawrence]

Shout out to Palace.

[Julie Ragolia]

Yeah, I love Palace Skate.

[James]

Are you excited for the new row shop that's opening up?

[Julie Ragolia]

I mean, year. I'm nervous about the additional shops of the row because I have a little game that I play with myself at the Row.

[James]

Only buy one.

[Julie Ragolia]

No, no, no. I. So basically I don't go into the row that often, but when I do, I have this little game that if there's something that I really, really, really, really, really want, I'm not allowed to look at the price.

[Lawrence]

Oh, how, how many times does that bit you in the ass, dude?

[Julie Ragolia]

A few times going to say.

[Lawrence]

Yeah, anything that's not a small accessory, like the damage is gonna be.

[Julie Ragolia]

Yeah.

[Lawrence]

You know, life ruining.

[Julie Ragolia]

Yeah.

[James]

I mean, you're ever like looking at like, like when this has been, you need to ask, has it been shoes? Has it been a bag?

[Lawrence]

Outerwear?

[Julie Ragolia]

Shoes. Yes. Yeah, because this is the most dangerous

[Lawrence]

game, by the way.

[James]

Yeah, this, it's.

[Julie Ragolia]

Oh, wait. Oh, no, now I'm not talking about the road. No, like you're talking in general.

[James]

You know, if you really love something, you're not looking at the price.

[Julie Ragolia]

No, no, because otherwise I would have that Phoebe Philo trench coat that I wanted.

[James]

That's how I ended up with a home upstate.

[Julie Ragolia]

Yeah, yeah, exactly. No, the. Yeah, I was in Bergdorf and thankfully it was a size 36. They didn't have a 34. And I think if they would have had a 34, like, I was literally texting people and I was like, can I buy this? Like, you know, I was texting people. Like, in Europe, I was texting people. I'm like, like, I'm like, can I do this? And everybody was like, no, talk me down.

[Lawrence]

Talk me off the ledge, guys.

[Julie Ragolia]

Exactly. Talk me off this ledge because I really am not in a position.

[James]

When you decided you weren't going to buy it, did you then look at the price tag?

[Julie Ragolia]

No, no. The Phoebe. I looked. That's the game I play only in the road.

[Lawrence]

Right? Right.

[Julie Ragolia]

Yeah. It's my game at the Row.

[James]

So with the Row opening up a bigger store in soho, this is very dangerous for you.

[Julie Ragolia]

Yeah.

[James]

And your finances.

[Julie Ragolia]

Yeah.

[Lawrence]

Godspeed.

[James]

The Paris was really big, Right? Or a bunch of bigger than the townhouse.

[Julie Ragolia]

You know what? I've never been in the Paris store.

[James]

Okay.

[Julie Ragolia]

Yeah, the LA store. I. Maybe that's intentional. Weirdly, I don't shop in Paris a lot.

[Lawrence]

Well, you're working.

[Julie Ragolia]

Yeah, exactly. Yeah, I did. I had a moment in the Celine store a few months ago. Like, is great.

[Lawrence]

Shout out to Michael Ryder.

[Julie Ragolia]

Yeah, shout out Michael Ryder.

[James]

What happened?

[Julie Ragolia]

No, I just bought a couple of things, but.

[James]

And then you had some space in the removal.

[Julie Ragolia]

Yeah, that's the thing. If you have a little bit of space, it's like, oh, what, can I push down? No. You know where I went shopping? Oh, my God. I'm like, in Rome. I went to Showstel and bought pajamas.

[Lawrence]

Okay.

[Julie Ragolia]

And some like, the Pope gets his. I don't know. But it's like, it's an incredibly amazing store in Rome. And then there's another store that I'm not going to say the name on because that's fine. I'm going to get Keith in Roma. Yeah.

[James]

What do they. What do they do best?

[Julie Ragolia]

They do really lovely menswear and women's wear.

[James]

Okay.

[Lawrence]

So everything great?

[Julie Ragolia]

Yeah, yeah, it's. It's a sweet store. Yeah, it's a sweet store that apparently Mary Kate and Ashley love to shop.

[Lawrence]

Oh, it's there.

[James]

The.

[Lawrence]

The sourcer of references. Etc. Potentially.

[Julie Ragolia]

Okay.

[James]

Do you ever buy or pull vintage?

[Julie Ragolia]

I buy vintage.

[James]

Yeah.

[Julie Ragolia]

I never pull vintage. I used to when I was doing, like music styling.

[James]

Because that's seemingly. Maybe it's more. And not to go back to celebrities, but it's seemingly more. I mean, across the board. It's like a vintage pull. You know, a deep cut, you know, Galliano, whatever. It's like, oh, this is more one of one than just like. Yeah, you know the, the Runway. This is look 67 on the Runway.

[Julie Ragolia]

Yeah.

[James]

What vintage do you personally like to shop for?

[Julie Ragolia]

I mean, it's kind of whatever strikes me, you know, like. Because sometimes it'll be like an old Japanese workwear piece or an old Escada shirt. Like I have a friend John who used to have a shop in upstate New York and he had like the best, most eclectic collection of like old Westwood to Hermes to Escada to Gautier. Like he's just an. He was an avid collector, trusted his curation. Yeah. And so sometimes I would just go and like rifle through his things. That would just be weirder than weird. But then I'm like, what is this? I want this, you know? Yeah, it's coming home with me. Yeah, exactly. So I enjoyed going there. Cuz I would just like hang out, buy stuff. Like. Like support your friends, take stuff. Exactly, yeah. And I still will wear like weird Escada pleated shirts and things like that.

[James]

Julie, how much money do you make?

[Julie Ragolia]

I don't know.

[Lawrence]

Did you have a.

[James]

Was your count?

[Lawrence]

It was just tax day. I don't know when this is coming out. But you had, you had a good year.

[Julie Ragolia]

I'm really, I. Yeah, I mean I make a decent living so I, you know, but I'm not very conscious of money, I have to say.

[Lawrence]

Like the road knows that for sure.

[Julie Ragolia]

I mean I'm not at the road that often. No. I buy art more than I buy clothes.

[James]

That where your funds are going these days?

[Julie Ragolia]

Yeah. What type of art we with contemporary like you know, I just bought. I just. Whenever I'm like going to say some things, I. I like completely forget names. I get like nervous.

[James]

Are you thinking of the artist or

[Julie Ragolia]

like a. Yeah, like I bought a drawing from Nlean Pierre who I think is super brilliant. I bought my first sculptural work from Leila Babir.

[James]

How big is it? Is it like the. The nine foot Sade that drinks?

[Julie Ragolia]

No, no, no, it's right.

[Lawrence]

That was a commission from Aubry.

[James]

That was a cash Drake. Relax.

[Julie Ragolia]

Like, I know, like be less predictable. Exactly.

[Lawrence]

I mean, goes well with his shot. A tattoo.

[Julie Ragolia]

Does he have one?

[Lawrence]

Yes. And I think they're personal friends anyway.

[Julie Ragolia]

So you know, I mean shout out Sade.

[Lawrence]

She would the best ever, right? What are you talking about here?

[Julie Ragolia]

But to have a nine foot of her, it's like.

[James]

Oh. And I just happen to find the one artist with a giant BBL that could do okay.

[Lawrence]

He was supporting a female artist.

[James]

Okay, so art.

[Julie Ragolia]

Yeah.

[Lawrence]

So the sculpture, is it a big sculpture?

[Julie Ragolia]

No, it's not that big. It's like. Like a little under a foot. Yeah. But Leila. Yeah. So Leila is a Ugandan artist and they were in the Venice Biennale. Like. Like huge nine foot sculptures. Last. Last Biennale.

[James]

Not of shade.

[Julie Ragolia]

Not of shade. No. So. So, yeah, I mean, you know, and then, like, friends of mine since many years, like, a girlfriend of mine, Donna Huanca, who's a brilliant artist. Like, I have works from her.

[James]

Are you trying to support, like, young emerging artists or do you see them as investments? Are you just drawn to the beauty and they speak to you?

[Julie Ragolia]

I buy what I'm drawn to. You know, like, got a parking money somewhere? Yeah, yeah. No, I mean, of course, you know, the hope is, like, I've joked with Donna, you know, because I have artworks that she's gifted as well as some that I've bought because I've known her for a long time and when she was first starting her career, and now, you know, she's one of the most important female contemporary artists, and I'm so proud of her. But, you know, I was joking with her. I'm like, you know, hey, Donna, if ever shit was to hit the fan, right, you know, I would talk to you first.

[Lawrence]

Right? But I have a house full of financial instruments.

[Julie Ragolia]

Yeah, exactly.

[James]

I actually spent a million dollars in the Row. I gotta start drawing.

[Lawrence]

My apologies.

[James]

I had no idea. They rang it up. I was too scared to take it back.

[Julie Ragolia]

I couldn't. Look, it's the game. It's the game.

[Lawrence]

Don't hate the player.

[Julie Ragolia]

Exactly. Exactly.

[James]

All the rules.

[Julie Ragolia]

I can't break the rules.

[Lawrence]

Exactly.

[James]

Is there anything you refuse to spend a lot of money on? Like, you're just like, that's not worth it. I would never. Why would I do that? I'm a cheapskate about that.

[Julie Ragolia]

Jeans, maybe.

[Lawrence]

Okay.

[Julie Ragolia]

Yeah.

[James]

What's your preferred jean?

[Julie Ragolia]

Personally, I don't have one. I'm still looking.

[Lawrence]

Oh, not Levi's 501s?

[Julie Ragolia]

No, Levi's 501s don't look good on me.

[James]

Okay.

[Julie Ragolia]

They like. I. I always feel like I look a little dumpy, like. And I love oversized clothes. You know, I own two pairs of 501s.

[James]

The row.

[Julie Ragolia]

I have one pair of jeans from the Row, and they're like, slim and skinny.

[James]

Okay.

[Julie Ragolia]

I'm constantly trying to find, like, the best baggy jean. I mean, I have one from like, Willie Chapara that's like, you Know, like, super baggy crotch down to here. Yeah. And I do like those, except I let a tailor from a charity fashion show I was doing. Yeah. I let the tailor tail shorten them, and. And I said, you know, save the bottom and we'll sew it back on. They did the reverse, got rid of the bottom, and now it's like my grandma.

[Lawrence]

Yeah.

[James]

Now you own.

[Lawrence]

You tried to do the right thing.

[Julie Ragolia]

Yeah.

[Lawrence]

And you got.

[James]

You're kind of asking for it.

[Julie Ragolia]

Yeah, I know. I know.

[James]

So thank you for your service.

[Julie Ragolia]

Yeah, exactly.

[James]

Well, before you were on the hunt for the best jeans, before you were splashing out on art, we all. We all had to make it right. We all had to resort to questionable behaviors and are younger, dumber, full of complex, calmer days. What was the brokest behavior you had to indulge in as an adult, maybe

[Julie Ragolia]

early in your career as, like, a young adult?

[Lawrence]

Yeah.

[James]

Yeah. Starving artists, like, maybe, you know, MTV checks weren't flowing yet.

[Julie Ragolia]

Sleeping on my brother's couch. Yeah.

[James]

Yikes.

[Lawrence]

Unhoused.

[Julie Ragolia]

How old are you? I don't know. Young. 20s, I guess.

[Lawrence]

Not last week, though.

[Julie Ragolia]

No, no, thankfully not last week.

[Lawrence]

Three roofs. I always forget.

[Julie Ragolia]

Yeah. And then, funnily enough, my first apartment that I ever had that was my own was in Chinatown on Essex and Hester. And I got this apartment, and I went to go move in to get off my brother's couch. I opened the door, and they hadn't even started working on it. It was like. It was like a disgusting construction zone. Inhabitable, uninhabitable, like, like, beyond on Move in day. Yeah. And I'm like, wait, I'm not paying rent yet.

[James]

Another month on this.

[Julie Ragolia]

Exactly. Exactly. I called my brother. I was like, can I come back?

[James]

Bring.

[Lawrence]

Bring out the cushions.

[Julie Ragolia]

Yeah, exactly.

[Lawrence]

Sis is on her way outside.

[James]

I'm in the U Haul.

[Lawrence]

Yeah.

[Julie Ragolia]

Yeah.

[Lawrence]

Oh, God. The old New York.

[James]

The old Julie.

[Julie Ragolia]

Yeah. Yeah.

[James]

And now the new Julie, who we love, friend, fan, and now podcast guest. Is there any constructive criticism you'd like to give us before we get you out of here?

[Julie Ragolia]

No. You kidding me? You guys are perfect.

[Lawrence]

Oh, come on.

[Julie Ragolia]

No, you guys are perfect. I'm a obsessed.

[James]

Let's give some. Let's give some constructive criticism to the listeners out there. What are, like, some styling crutches that you see guys using these days that you wish they would stop?

[Julie Ragolia]

I think, just looking too much at the Internet, you know, Like.

[James]

And what is that? What's the product of that?

[Julie Ragolia]

Just everyone starts to look the same.

[Lawrence]

Yes.

[Julie Ragolia]

You know, what do you think about papushkas?

[James]

Oh, really? Unlike. Unlike straight white men.

[Julie Ragolia]

Oh, no, no.

[James]

Yeah, yeah.

[Lawrence]

Not on Jewish grandmother.

[Julie Ragolia]

Yeah, exactly. I love it. On a Jewish grandmother.

[James]

No.

[Lawrence]

Okay.

[Julie Ragolia]

But, yeah, I think. I think people spend too much time looking at other people, you know, and comparing themselves. There's a similitude that's happening in general, and, you know, we're seeing it here in New York, which breaks my heart the most, you know, because we're supposed to not give a shit, you know, and I just.

[James]

Are all non New Yorkers that are doing this transplant.

[Lawrence]

Style, behavior.

[Julie Ragolia]

Exactly. Yeah. And. Yeah, but, I mean, you crossed a bridge. You're a New Yorker.

[Lawrence]

Right, Right. I'd love to get that on record.

[James]

And so what is it? So everyone is just kind of the same? And is it too safe? Is it too out there? Is it too. Just not yourself?

[Julie Ragolia]

I think. Think it's just people are not being honest with their own interests, you know, Or. Or they're being manipulated into thinking that their interests are their interest. I don't know. You know, it's hard to say.

[James]

I love geese.

[Lawrence]

You're saying. You're saying that social media is manipulative marketing at its core,

[Julie Ragolia]

shocking.

[James]

I love Kees. I need a bullet.

[Lawrence]

Yeah.

[James]

What about some styling moves that maybe, you know, guys should start using, you know, and less in the abstract, like, know thyself.

[Julie Ragolia]

Right.

[James]

Develop interests. Read. Go to. Go look at art. Learn.

[Lawrence]

Develop personality, more like.

[James]

Oh, stop letting your belt dangle like a penis.

[Julie Ragolia]

Like, I do that, though, all the time.

[James]

Hell, yeah.

[Lawrence]

Me too.

[Julie Ragolia]

Always wearing extra long.

[James]

You do it cool and ironically. Yeah, he's doing it like. Like Oedipus thing, you know?

[Julie Ragolia]

Okay. All right.

[Lawrence]

Relax, dude. That's projection.

[James]

What do you. Yeah, what do you. What you guys start doing?

[Julie Ragolia]

Get a good tailor.

[Lawrence]

Yep.

[Julie Ragolia]

Like, literally get a good tailor. You know, Understand where your shoulder is in relationship to where the jacket ends.

[Lawrence]

It's one thing you can't fix, like, length, shorten, whatever. I mean, you can't really lengthen. Like, it's like a haircut, but the shoulders fitting most guys. And there should be people like you telling guys this.

[Julie Ragolia]

You know, it's so funny. I always, like. I'll always joke that my job should be like, some kind of a. I don't know, the person who tells you that, you know, you're supposed to take that tag off or cut the vent. Yeah. Or like, to put the tag in. You know, people who don't realize that their tag is sticking out in the back. I Once, actually, like, I once told FKA Twigs at a party that her tag was out, and she didn't take too kindly.

[Lawrence]

Oh, really? That's friend of the show FK Twigs.

[James]

But she tried to flex. She's like, look, it's.

[Lawrence]

It's Rick, It's Marella.

[James]

You're not.

[Lawrence]

You're supposed to leave the stitches.

[Julie Ragolia]

I mean, maybe she just didn't want to be disturbed in that moment.

[Lawrence]

This lady thinks she is.

[Julie Ragolia]

Yeah, I was. This was years ago during our Basel. I was doing a party with. With ASAP Rocky. And, yeah, it was like. It was a small party. It was like 250 people.

[James]

Small party.

[Julie Ragolia]

Yeah. And. And she was there, and I was just like, hey, Twigs, your tag is out. You know, I just wanted to let you know.

[James]

And she just a tags.

[Julie Ragolia]

Yeah.

[James]

Okay, so it is kind of like, know the rules, like your shoulder points.

[Julie Ragolia]

Oh, yeah, I segued. I segued with my future job of being, I don't know, some kind of a correctional. Yeah, we love that correctional facility on the.

[Lawrence]

You're like a garment spotter.

[James]

Yeah. Like cuffing a hem.

[Julie Ragolia]

Yeah. Walk around with my kit, you know, like a little mini kid kit, and just snip things. Loose threads.

[Lawrence]

The hero we need, not the hero that we deserve.

[James]

You get punched so quickly.

[Julie Ragolia]

Yeah, yeah, I know, exactly. No, my other job, and. Sorry, I'm completely not answering your question, but my other job, if I had to take another job, would be to go to every single store and align the buttons to the button holes. You see that in store windows way too often.

[James]

When the shirts are open, it's like.

[Julie Ragolia]

Yeah. Or the jacket's open on the mannequin, and then. Then, you know, the buttons here, but the buttonhole is down here, so the jacket is not sitting straight.

[James]

Yeah.

[Julie Ragolia]

Oh, that drives me mad. Yeah, that drives me mad.

[James]

Is it a good thing for styles of ocd?

[Julie Ragolia]

I think so.

[James]

Yeah.

[Julie Ragolia]

Yeah.

[Lawrence]

Job description.

[Julie Ragolia]

Yeah, exactly. I need to pay attention.

[Lawrence]

Someone's got to do it. You know, someone's got to tell Twigs or Tags out.

[Julie Ragolia]

I mean, somebody's got to do it. Somebody's got to walk into that Bolioli store and be like, hey, what's something that you like?

[James]

Maybe you're always. Always like a little. It's just in your brain, like, oh, I gotta make sure that, you know, like, my. My collar isn't baconing here or something. Like, what's a little detail that is always just for your own self? Like, oh, like you're obsessed, obsessing over.

[Julie Ragolia]

I love, like, like, misshapen tux. But that's, you know, that's like a science unto itself, you know, to not be perfectly tucked in or perfectly straight out or what have you, but yet to maintain it when you're walking.

[James]

Sure.

[Lawrence]

You know, main affectation.

[Julie Ragolia]

Yeah.

[James]

Sitting down and standing up and.

[Julie Ragolia]

Yeah, yeah. Because. And then, you know, being able to function without having to constantly stare in a mirror or anything like that. I don't know what, like, what else.

[Lawrence]

The tuck one is very specific and very good.

[Julie Ragolia]

Yeah. Yeah. It's hard to pull off.

[James]

Like, I hate when, like, the hem of my pants is, like, caught in my shoe and not, like, flowing out over.

[Julie Ragolia]

Yeah.

[James]

And I'm always just like, always kind of.

[Julie Ragolia]

That's a really good shoe.

[Lawrence]

Collar gap would be probably mine. Like, if you have the sport coat and there's the collar gap. Brutal.

[Julie Ragolia]

That does that. Drives me crazy.

[James]

Yeah.

[Lawrence]

It looks like I saw a guy getting engagement photos. Literally today we're walking to a breakfast meeting and a guy and I wanted to almost, like, intervene into the photo shoot and be like, bro, can I please fix your jacket?

[Julie Ragolia]

See, I Wife going to look at

[Lawrence]

their future wife are going to look at these Forever Gap.

[Julie Ragolia]

See, but that, to me is a good Samaritan thing to do. Do.

[Lawrence]

I couldn't bring myself.

[Julie Ragolia]

I would have done it. I would have very gently been like, hey, I'm really sorry to bother you. Yeah.

[Lawrence]

I'm Julie. I'm a very famous. This is for free. You're welcome.

[Julie Ragolia]

No, when I see stuff like that in editorials, I. I cringe.

[Lawrence]

Professional.

[Julie Ragolia]

I cringe.

[James]

Where do you see that?

[Lawrence]

What?

[James]

Magazines.

[Julie Ragolia]

A lot of, like, indie mags, you know, you.

[James]

They can't afford good. They can't afford.

[Julie Ragolia]

No, no, no. The photographers are spending a ton of money on these shoes shoots, like good indie mags. It's just people who don't understand how clothes are supposed to fit. Yeah. You know, and like. And they have cool careers and whatnot, but, like, they don't know garments.

[Lawrence]

Sure.

[Julie Ragolia]

And you just see a. Yeah.

[Lawrence]

Not to be a. But the classic menswear stuff like, like those details of collar gap, that's not necessarily in the wheelhouse of, like, an indie mag. And if that's something that's, like, trending or of the moment and is the focus of the story, it might not necessarily hit like it would. It would. Would in a gentleman's quarter.

[Julie Ragolia]

Yeah, of course, you know. Yeah. And of course, I think, you know, the license to play with the. The rules is, you know, I love breaking the Rules, because I know them, so it's fun to then break them. But if I see things that it's just like, oh, you didn't catch that in the retouch. It drives me crazy.

[James]

Pay attention to the details real quick. Just to take us out. Can you name some indie max I know you work with, like some really interesting titles. Can you name some indie mags that people might or could like, check out that you think would be beneficial to their development role? Intellectual, artistic, self expression, fashion development.

[Julie Ragolia]

Yeah. I mean, I. I love purple. I think Olivier Z is so incredibly smart and. Yeah. And knows everything about art and culture and is continually curious. I fox for sure. Yeah. I love let.

[Lawrence]

Oh, yeah, yeah, they were. Did you see them when they were here in New York for Buck Mason?

[Julie Ragolia]

Oh, I was.

[Lawrence]

It was the most packed party that I've ever been to and every guy looked exactly the same.

[James]

Not a single female, really.

[Lawrence]

There was, there was some ladies in the house, but there was more trucker hats than women, without a doubt.

[Julie Ragolia]

That's for sure. That's funny.

[James]

A lot of guys that probably had the same haircut that you had grown up, you know.

[Julie Ragolia]

Yeah, yeah.

[James]

Short feathered mullet cat.

[Julie Ragolia]

Yeah, yeah. Let's see, what else do I like? I. I like another and another man.

[James]

Oh, sure.

[Julie Ragolia]

I. I mean, Tea, I think is great.

[James]

Who do you think should take over Hanya O?

[Julie Ragolia]

I don't know. I honestly, I wouldn't even.

[James]

Should they just end it?

[Lawrence]

Oh, no, that's a legacy title.

[Julie Ragolia]

It's a legacy title.

[James]

It's not that old, but they make a shitload of money.

[Julie Ragolia]

Yeah, exactly.

[James]

Like 10 years old.

[Julie Ragolia]

No, and quite frankly, we don't have enough good magazines out of the States, so we need it.

[Lawrence]

Yeah, we need less podcasts and more quality fashion magazine.

[James]

Bankrupt your local.

[Julie Ragolia]

The podcast. We need the print version.

[Lawrence]

Yes, exactly.

[James]

Print out the transcript.

[Julie Ragolia]

Yeah, exactly. Study it.

[Lawrence]

Chat GPT. Can do it in one second.

[James]

Julie is a big brain that has blessed us with an hour 40. Julie, before we get you out of here, where can the kids follow you? What would you like to plug? The floor is yours.

[Julie Ragolia]

Oh, my. They can follow me on Instagram at Julie Ragolia.

[James]

Not Threads. Stay away from Threads.

[Julie Ragolia]

I mean, threads don't follow. No, I mean Threads is a little bit of a repeat because it just continues, you know, it goes there. So. Yeah, I think, I think Instagram is the best place to follow me.

[James]

Go to follow.

[Julie Ragolia]

Yeah, Class things coming up. I mean, I have, you know, various editorials coming out at the moment, like you know, RE Edition just dropped today with Sophia Zella who I think is really cool. I'm very curious to see where she's going to go in her career.

[James]

And don't look at the photos on Instagram. Go buy the magazines.

[Julie Ragolia]

Yeah, go buy the physical magazine people. Print matters. Very excited about the ZENYA show in LA on June 5th.

[Lawrence]

Destination Show. Hey, Zenya.

[Julie Ragolia]

What else? I don't know. I like what did have.

[James]

Are you working on that? It's like a month or so, a month and a half out. But like are.

[Julie Ragolia]

Yeah. So so basically all of the fashion show has now been launched and then basically my process begins about 10 or 11 days before the show. You know, I start working on looks and you know, it's. Doing a remote show is a lot more complicated than doing one in your, you know, in your regular.

[James]

Sure.

[Julie Ragolia]

Your regular city.

[James]

Because it's an away game.

[Julie Ragolia]

Yeah, exactly. There's a lot more logistics to, to organize, you know, around casting, etc, but it's also really fun because we spend like literally two weeks all together in a hotel working like it's breakfast, lunch, dinner.

[James]

Two weeks in la.

[Julie Ragolia]

I know, that's the thing. It's la. See, we're east coast people.

[Lawrence]

It could be worse, but it's definitely not. But the show is probably going to be a movie. I can imagine.

[Julie Ragolia]

It's gonna be gorgeous.

[James]

It could be San Francisco.

[Julie Ragolia]

See that I can't really say enough about. I've only been to San Francisco once.

[Lawrence]

Oh really?

[Julie Ragolia]

Yeah, fine. Yeah.

[Lawrence]

I think it's getting worse by the day.

[Julie Ragolia]

Oh really? Yeah, yeah. I don't know.

[James]

You like AI to the. Yeah, you like AI because then you'll.

[Lawrence]

What can I do to put you in a pair of all birds today?

[Julie Ragolia]

Exactly.

[James]

All right, so stay tuned for all that and more. Julie, thank you for coming on to the only podcast Matters. Truly a pleasure. Chef, Take us out.

[Julie Ragolia]

Thank you guys.

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