Up next in 10
Jenna Ortega’s Stylist Reveals the Secrets Behind Her Viral Looks | Who What Wear
Apr 29, 2026
Jenna Ortega’s stylist Enrique Melendez joins Who What Wear co-founder Hillary Kerr to break down the Wednesday star’s season 2 press looks and her evolution from Disney kid to gothic-glam fashion icon. From the latex Ashi Studios gown to the bejeweled Givenchy top at the Emmys, Enrique reveals how Jenna’s most daring looks came to life.
Show More Show Less View Video Transcript
0:00
I'm the one who kind of wants to put an exclamation point on things
0:02
Oh, really? We have to have a moment. Yeah, you know what I mean? So she's like, all right. You're putting her in a 30-pound bejeweled talk
0:08
You sound like her right now. Last time we sat down, we were just coming off of season one of Wednesday
0:17
And everyone in the entire Who, What, Wear team was obsessed with everything that you were doing with Jenna
0:22
And we were very excited for the return of Wednesday this year because we knew that we would have lots of incredible looks to write about
0:29
And thank you for bringing them to us. You make our job much easier
0:33
First of all, everyone should go back and listen to that first episode because you did such an amazing job of walking us through your trajectory, Jenna's style trajectory
0:43
All of it was fabulous. But let's talk about it. We'll give like a little bit of a synopsis to start and then we'll get into everything that you've been up to since then, if that sounds okay
0:51
Absolutely. Okay, good. Okay, so you started working with her as we established before when she was just 14
0:58
and had the job of helping her transition out of really being perceived as just a Disney star
1:05
So how did you guys start to figure out what her true style was? Honestly, at the beginning of her career, we kind of followed a blueprint, so to speak
1:15
Zendaya, what she was doing, Selena Gomez, Dove Cameron, Sabrina Carpenter. They all had a show on Disney and they kind of followed a business model, how they kind of transitioned
1:28
Not broken. Yeah. Yeah. But I think as she got older, everything that we were wearing wasn't representative of who she was as she was obviously discovering herself
1:38
And I'm discovering new things about her as we started to work together
1:42
So I think just as we started spending more and more time together, she started booking different types of roles
1:50
And I think we just kind of explored what her actual personal style was and also what she would gravitate to in wearing on red carpets and press and stuff like that
2:01
And I think Wednesday was the first time we really had a full on press tour
2:06
Well, the evolution has been phenomenal. It has been really interesting to watch
2:10
I can see how in sync the two of you are and how you continue to like push it and move forward
2:17
So how much of the gothic influence and sort of the edgier, more dramatic and like extremely beautiful aesthetic that we see in her looks today is Wednesday inspired or perhaps method dressing or influenced by it
2:32
And how much of it is it just like what the two of you gravitate towards
2:36
towards? For example, like if starting tomorrow, she suddenly decided like, all I want to do is be
2:41
the next Julia Roberts in a certain era of her career and do lighthearted rom-coms
2:47
would it suddenly change like her press looks or your strategy? Interesting question. Yeah. I think everything that we do is obviously very authentic to
2:54
her personal taste. And I think her being a fan of the horror genre, I think that just naturally
3:01
sometimes when you're looking at two things on a rack and something's, you know, bubblegum pink or
3:06
aqua blue, she's going to gravitate to the grays and the blacks just because, or even the earth
3:12
tone. I think naturally that's just her aesthetic. So if she was to book one of those, one of those
3:17
types of rom-com roles, I think we would find some way to kind of go into that, you know
3:24
the darker palettes. Rom-com silhouette, but in black. Exactly. So talking about that style journey
3:29
there is a noticeable shift and continued evolution as we've discussed from season one to
3:34
season two. For season one, there was still a lot of black and white and lace and leather and
3:40
tailoring. And lots of those aspects showed up again for season two. But I feel like you really
3:45
expanded upon that original framework. No one knew what a hit it was going to be when you were
3:50
preparing for press for season one. You very much knew what a hit it was when you were preparing for
3:56
season two press. So what did those conversations look like? What was the strategy like? What was
4:00
the planning like jenna is you know a family to me and i was like i just don't want to disappoint
4:06
her in this first fitting you know at the end of the day like i was like what are we going to do
4:10
and like i don't like to like bombard her with questions while she's because she was filming
4:14
another project and i know she's like paying attention to that so i'm just out so you just
4:21
had to do magic on your own and hope that it worked well it was a rainbow of options or
4:26
directions that I just kept playing back and back in my head. And I'm like, we've done the black and
4:31
the lace and the sheer, like, I don't want it to be boring when I go into this fitting with her
4:37
I want her to feel like something new, you know, like she has to promote this. She has to feel
4:41
great in what she's wearing. And I was just like, what am I going to do here? Because I'm like
4:45
obviously all of those elements, black and lace and all of those make sense. But I'm like
4:50
there has to be another way to kind of capture the essence of you know the Tim Burton world so
4:57
I just started pulling away like anything that you know kind of inspired me but I was like a
5:03
week before I'm about to fly to uh London to have this large fitting for 2022 looks and she's like
5:10
hey what are you thinking for this Wednesday tour and I'm like I love that you reached out because
5:14
I'm like, I want to know what you're thinking. She's like, well, I just want to feel mature
5:20
Don't want to feel like a child. I'm really feeling in this 90s world
5:25
Just 90s inspired clothing in her personal closet. You know what I mean? Meaning minimalist
5:29
Minimalist. Very. Like almost stark. Absolutely. Yeah. Like old Calvin Klein. Old Calvin Klein
5:36
Absolutely. You were hitting it. Yeah, exactly. I just started doing some major edits
5:40
So at that point I was like, all right, cool. Kate Moss, Christine Ricci, Winona Ryder, and like old editorials with them
5:49
And they still captured the essence of goth, but in a glam way
5:53
And so I just looked at a lot of references there. And flew to London and was like, all right, cool
6:01
It's a shot in the dark. It was a full room of, I don't know, it was too many racks
6:05
It took a day to set up everything. You wanted options. I wanted options, A
6:10
I wanted to make sure that she was covered because we didn't have a lot of conversation
6:14
That was the only conversation. It was about 10 text messages. It wasn't much about the direction that she wanted to go
6:20
So I was like, still not sure what direction we were going to go with
6:24
I feel like it's like a choose your own adventure at that point. Like, no, absolutely. We start with this one piece and we can go here or we can go here or we could go here
6:31
and you're prepared for all of it. But you have to be prepared for all of it because. Absolutely
6:35
She is in the middle of something and you can't stress her out by asking her a thousand questions
6:39
and you just have to figure it out there, right? That's a perfect ogy
6:44
We get there and honestly, the Ashi studio was the first thing
6:48
She was like, what is that? And I was like, oh no, she's..
6:54
You said she didn't like it? She's like, oh, what did you bring to this fitting
6:58
Like, because we talked to each other like that. She's like, that's really cool. Like, I definitely, I want to try that on
7:04
And that kind of set the tone for that choose your own adventure. And I was like, all right, cool
7:08
It's interesting because it's like, yes, it's setting the tone for we're going directional and a strong point of view and almost elements of futurism with that minimalism
7:19
But then also there's like gothic romance to it in its own way, but it's subtle
7:25
It's not as literal as lace might be necessarily. I just want to get this description right
7:30
So it was a semi-sheer latex and it has a really subtle snakeskin print
7:36
So it almost looks wet in certain places. And I love it had that crazy cinched waist and then the flared hip
7:43
And I think part of what really, I mean, there's a lot that works about it
7:48
But then when you throw in the glam with like the bleached eyebrow and the strong lip and like the low pony with the ears just peeking through a little bit, it's like the right dress
7:59
But then how the whole thing comes together, because if you if she had done all of this and then went try to go old Hollywood for glam, that is a very different effect
8:08
and it negates the work, how do you also work with the team to say like this is the full direction because the truly the glam choices made it all sing
8:21
Yeah. And all in such an editorial voice. But that part's out of your control
8:25
So how do you get it all to work together? Thankfully, we have a beautiful team
8:29
Having people that are totally collaborative and malleable and want to make sure that everyone on the team is happy with their work
8:37
And this is a piece of art. You know what I mean? It's like something that, you know, yeah, minimal. Absolutely. And I think Jenna, being a lover of art, wanted to always keep to the integrity of the look because she it comes from her
8:53
Like, obviously, I'm always going to fight for a fashion look, but she knows like, hey, this is what it needs to give. I need to give this or whatnot
9:01
So and that is giving editorial. Yeah. Which you do not always see on the red carpet. Yeah
9:05
Which is why I think we all like the Met Gala and like less so the Oscars. Exactly
9:10
It's just, it's interesting, you know? And interesting could be on two sides
9:14
Like some people love it and some people are like, what? You know what I mean? So, but that's great
9:19
It's art and that's what art is. And so. Conversation. Conversation. With Cesar and Melanie, hair and makeup
9:25
As soon as we did the fitting, I'm sending out the images and they're like, oh, wow
9:30
Like everyone's will starts to turn. Because usually like this was two days before the premiere, you know what I mean
9:36
So usually like we have more than a couple of days that we know what we're doing on a press tour
9:40
But again, she's filming and what she's filming, she currently has no eyebrows. And that wasn't actually even supposed to happen
9:47
But honestly, when we went through the fitting pictures, everyone was like, wait, this helps translate the looks even more
9:55
And so I was like, oh, OK, great. I agree. But it's that 90s thing, too
10:01
Like that was part of the look. Absolutely. Thinned out. Or bleached entirely
10:06
Yeah, bleached eyebrows. Yeah. It was only supposed to be for the first two days and we were going to change. The bleached eyebrows were supposed to go back to brown
10:12
Obviously it stayed. With hair and makeup, like they are such beautiful artists
10:17
Like again, like they understood the taste level is aligned. You know, Jenna had her notes, but also just Cesar and Melanie came to the table with what made sense
10:26
Like even like the hair, how it had a bend. And, you know, that came up last minute
10:31
He's like, Caesar's like, does it need a bend or does it? Because it was going to either be a straight
10:36
But that made those little details make a difference, you know. It's so crazy
10:42
Yeah. And with the lip, like it was going to be a nude lip to kind of make it look kind of alien-esque
10:47
But then again, she's like, no, Melanie's like, I feel like it needs a lip
10:51
And that happens the way it happens, you know. And like, I don't know, there's something just really exciting about those little details
10:57
that just happen while we're looking in the mirror as she's getting her hair and makeup done
11:03
It also, to me, when I saw that, like it speaks to a level of yes, artistry, but also confidence
11:07
Confidence for Jenna and herself and her taste level and her team
11:11
and that everyone was working, like firing on all cylinders, like really making an editorial look
11:18
for this big moment. It's splashy. It might be divisive to some people
11:23
who do not understand and that's okay. and to be comfortable in that
11:28
Like to me, that's a level of confidence that shines through and I loved it
11:32
I mean, the entire editorial team at Who What Wear was like losing their minds over it
11:37
And we were just like, thank you for feeding us. Like this is so good. This is, it's really, it's exciting and electrifying
11:44
to see someone because it feels so powerful and it feels like her owning her own power in this way
11:50
That is ultimately really inspiring. Yeah, thank you. Okay, so I also want to talk about
11:55
this look, which is a custom tattered t-shirt dress by Zach Pozen's Gap Studio
12:04
Yes. This was for an event celebrating part two of season two's release
12:08
As former Gap employee, like there's just that part of me that makes me so excited about this
12:13
I'm assuming that was very special for you too. Yes. But tell me how this all came together
12:18
We met Zach Pozen at an event and they were like, we have this dress that we want to get made
12:28
It's like a white T-shirt. I was like, oh, that's really cool. But it doesn't really speak to the project
12:35
Yeah, to the project. Yeah, or the person. It's like really cool
12:38
And I love it. And I want to make this happen. And also with timing, it wasn't going to happen
12:43
And so then I'm like, oh, we're getting another screening in New York in the beginning of September
12:49
And so I reached back out and can we revisit that T-shirt dress
12:56
So what about if we do like some type of not acid wash
13:00
They actually do like this environmentally safe tumble wash is what they call it
13:05
And I'm like, let's make it look like a grunge T-shirt. You know what I mean
13:09
Like, let's give it that vibe. They totally were into it. You know, like Zach and his team that is understood that that's what needed to happen in order for it to work
13:17
Yeah, we get there and she's still on the fence. You know, like I think sometimes you have to kind of see it on your own body to kind of understand what it's giving
13:26
Well, visualization is hard in that way. And it's like something like I can visualize something
13:31
I can visualize the outfit and then I actually go and put it on. I'm like, well, actually, that's not really working the way I thought it was or vice versa
13:37
Last minute, like something was missing in that 90s grunge world. it was like let me see one of your bras
13:42
and it was like a lacy bra and like we cut it up and
13:46
we put it underneath that dress it gave that lace element that spoke to the Wednesday
13:54
season one and also it was such a beautiful dress it was so beautiful that we were like
14:00
I was like I feel like this needs to have some distressing
14:04
or tattering going on like I feel like too perfect yeah it was too
14:08
perfect it was beautiful it could have been anywhere but that's what I think really kind of took it over the edge and even Jenna chimed in
14:17
and was like yeah can we splash it around the legs and here and she was like yeah here you know
14:22
so you guys customized it that's amazing so do you have to ask when you do that or do they just
14:28
trust you always I think it's somebody's it's somebody's um it's someone's work and Zach you
14:36
know creative mind put that together but you know i think he was gracious enough to you know
14:43
collaborate with us on that that's so cool make it the moment that it was so i also want to talk
14:48
about this very victorian adjacent vivian westwood look for the paris premiere which was a chocolate
14:55
brown gown i'm gonna find a photo of it it was actually like a aubergine no way deep purple i
15:01
I know it reads in my photo. Okay. No, in a lot of photos, people, I get that question a lot
15:07
I love that. So it has the corsetry. It has the belt
15:13
Talk to me about taking, and this is from the fall 2025 runway, correct
15:17
Yeah. So how do you make a runway look work for a client like Jenna, where she's obviously not as tall as a runway model
15:29
and also like you're going to make it your own with accessories and other things. So walk me through that process a little bit
15:35
Well, that look almost didn't happen. Why? Because we did a whole fitting and then, you know
15:42
the event that it was actually was not a premiere. It was a fan event
15:46
And, you know, Vivian Westwood, obviously, they want their looks to be on major red carpets
15:51
So they were like, wait, we looked this up. This is a fan event. We'd like to save this dress for another moment
15:56
I'm like, we've already fit for this. Like, I don't know. Like it is, it's going to be a moment
16:02
It's like, I know it's set up as a fan event, but it's, it's the Paris event
16:07
Like this is the moment. And so it was a lot of back and forth
16:11
Thank you, Vivian Westwood for allowing us to wear that because it did end up getting so much press
16:16
So I was really stressed out about that one because it was the night before
16:20
And I was like, we could have pivoted and done something else. But that again I feel like it was perfect for Paris Did you customize it in any way Talk to me about the accessories because that is a great necklace Was that runway The necklace was Lori Rodkin
16:35
Jenna saw it laying on the bed when we were doing a fitting. She's like, there we go
16:39
That needs to go on me for this look. And I was like, oh, I didn't know
16:44
Again, I bring a plethora of options and she's the one who accessorized
16:49
I thought it would be a great option, but I didn't know if it was going to be something
16:53
that she gravitated to. I love how collaborative the two of you are
16:57
Yeah, absolutely. I love fittings with her because- Because you don't know what the outcome is going to be
17:02
We don't know what the outcome is going to be, but I always make sure that she's covered and at the end of the day that, you know
17:07
we're both happy with it. What an interesting backstory to that look though
17:11
They're like, wait a second, I don't know about this. Oh my God, please. Like, no, we're going to make it a moment
17:16
All of the heads over there, like, hey, please. But, you know, that's one of the things
17:19
that I find so interesting about interviewing folks in your line of work is that I think that the general public has this idea of like what styling
17:27
is probably based on the Rachel Zoe project back in the day on Bravo. And it's like, like there's a
17:33
lot of negotiation. Brands want certain things they want, and it's not just the right person
17:37
It's the right event. And what is the event going to be? And I don't think folks always understand
17:42
like how much of a back and forth that that can be. And that you are, you have your strategy
17:47
you are incorporating Jenna's strategy. You are perhaps incorporating the project strategy
17:55
or thinking about that piece of it. And then there's the brand piece of it. And then like everyone
17:59
there's so many different inputs that you have to consider. It's not just a matter of like
18:05
I'm gonna put this dress on this person and let's go, end of story
18:09
Right, absolutely. Okay, so I, now this is the part that I've been really excited to talk about
18:13
is all of the Sarah Burton Givenchy looks that have been coming up lately
18:18
You have styled Jenna in a number of different Givenchy looks and we have to talk about it
18:23
So first of all, like obviously like anyone who has eyes, I'm obsessed with Sarah Burton's work
18:29
I love everything that she did at McQueen. I think she is such a genius and she's now with another
18:36
very storied fashion house with Givenchy. Why do you think that the combination
18:40
of Sarah, Givenchy, Jenna, like why does that work so beautifully in your mind
18:47
Well, first off, like Sarah Burton is such a beautiful human being
18:51
Like when we got to meet her, great. But she knows how to dress women
18:56
She's a woman who loves women. And if you see her last show, like she had a range of different body types on her runway, which I thought was a super beautiful thing
19:05
We had a couple premieres before Wednesday and I was requesting these looks, but they weren't available because you have editorial time
19:16
I'm like, these are all, they're just not available. Ad campaigns. Ad campaigns. And actually, yeah
19:20
There might be one garment and it's flying around the world. Absolutely. And it's being shot by Vogue Korea
19:26
Yeah. And then it's going to L, Australia. Yeah. And it's flying around the world and it's for necessity
19:31
Right. So it's no, no, it's not available. And I'm like, oh, okay. But the first look that was available was the..
19:40
Was it the red? The puffer. The black? Sleeve. Yes. Okay, just for anyone who doesn't know, this is a black leather three-piece look with a pencil skirt, a bra, and exaggerated sleeves, which is from the Fall 2025 collection
19:57
And this was for the photo call for Wednesday in London. It's so sculptural
20:04
It's so daring. It's so strong. It's so stunning. Yes, that was the first look, actually, that we did before the premiere
20:14
And we thought it was going to be like a photo call where you have a bunch of, you know, photographers standing outside
20:19
But it was an actual contained, controlled photo shoot. Shot it in a museum in London
20:24
So you had a whole editorial moment photo shoot? We actually were supposed to be done
20:30
Like we shot with the cast and she shot a couple of, you know, pictures solo
20:35
But I was like, please, can we shoot some more in this? Look, I have Sarah Burton, she wants to get more out of it
20:41
Yes, yes, yes, absolutely. So later on, she was on the stairs
20:46
She did all kinds of different things. And those images actually ended up being the ones that not only Netflix used, Givenchy loved them
20:54
They used them and posted them on their social. It also showed Givenchy that she could still wear a runway look
21:03
Because she's 5'1", and the runway model is, you know. Not. Not
21:09
you know that kind of opened the door to kind of like okay so like once they saw what you could do
21:15
yes and then all of a sudden it's like okay and that's also the first time you had worked with her
21:20
especially at Givenchy so there's a new level of trust that has to happen and a relationship that
21:26
has to be built to be very respectful of that and it was built after that I bet yeah they were super
21:31
happy I was super happy Jenna was super happy and yeah you know Jenna being a fan of Sarah Burton
21:36
in her work. I want to know too about this red sheer look
21:44
also Givenchy. That is from the current collection and she wore this to the 2026 show
21:51
Yes. Talk to me about how do you go about, like, did they assign you a look
21:55
Again, after the Emmys. Which we're going to get to. Yeah, after the Emmys look
22:00
which was such a moment, they invited her to the show. And we were like, great
22:08
You know, when you go to the show, you usually wear the last collection
22:14
You choose the legs from the last collection. So I was totally open for that
22:20
But, you know, Sarah actually reached out and was like, I would like to make her a look or two from the new collection for the show
22:29
I would love to dress her. Like just for the folks at home, like I really want to nail this, hammer this home
22:34
Like that is major. That is like trust and acceptance and appreciation and mutual
22:42
I mean, that is unlocking a huge moment for a client, for yourself as well
22:47
Like that is very brand building. Yeah, absolutely. I mean, when she's walking into the show, that's the first time anyone's seen that look
22:56
Before it even walked the runway, you know. And so, again, we're super humbled by that
23:02
So I also want to talk about one of my favorite looks of all time, which is the look that Jenna wore to the Emmys
23:12
Right. So first of all, have you seen the movie Death Becomes Her
23:18
Absolutely. Is this a reference? So. Is this giving Isabella Rossellini? I always thought that in my head
23:26
I didn't think that the world was going to the fashion world was going to actually pick up that reference
23:32
I actually was going to post it on my Instagram like, hey, living my Isabella Rossellini, death becomes her dreams
23:40
But before I could even get there, they were like going in and tagging me and stuff
23:46
And it was great to see because she's a huge fan of her as an actor and the movie, obviously
23:50
The movie's everything. Yeah. So talk to me about this because first of all, I read that it weighed like 20 or 30 pounds
23:57
Yeah, super heavy. This is the most daring or revealing in some ways
24:04
So talk to me about how the two of you came to pick this look and then know that it was right
24:10
And then also like get it placed correctly. Yeah, that was stressful
24:14
I would imagine. Yeah. So again, I've been gunning for that look for months
24:22
So after the puff sleeve, doors were open. Now suddenly it was available
24:28
It was available after all the editorials, campaigns and everything. I was like, hey, we have the Emmys coming up
24:34
Can this look be available? And they said yes. It's a work of art
24:39
Like that can be tailored or anything It has to either work or not Oh right So like then I like okay cool They ship it to New York I can even imagine what that ship was And it a huge Crate Crate that needs to be rolled
24:50
So the look is paired with some trousers on the runway. So I just asked Javonji, can you send a couple different versions
24:56
Maybe leather, like a tuxedo pant, maybe just something for the evening
25:00
And so willing this coffin up to Jenna's room and she's like, opens the door like, what
25:09
delivery i was like this is the look and she so it took it took even to open up the container and
25:17
like undo all the packaging it came with a whole docket of like how to um package it and unpackage
25:24
it and how to place it on um someone and you need two to three people so i had to call you know her
25:32
assistant lizzie to come and help and so she was helping me in this fitting and so we placed it on
25:39
her body and I'm like what it totally works this is crazy obviously there needed to be some nip
25:46
tucking everywhere like just to make sure that everything's placed properly but honestly yeah
25:52
but she was like this is really heavy I mean talk about a weighted vest yeah yes absolutely but she's
25:59
always such a trooper but the one thing she did was again I love that it's a collaborative
26:04
you know conversation she was like i love the trousers she's like but i feel like it needs
26:11
to maybe be a skirt of some sort and again we're going back to sarah burton saying hey
26:17
um you'd like to interpret your runway vision right she said yeah she's like i would love to
26:24
make her a custom i think she made her two skirt options which was really great and it was one
26:29
high-waisted and one low-waisted because again I in my head I'm like we've never shown like
26:34
midriff or belly button so she had two options for us and it was up to the day
26:40
10 minutes before we're deciding are we doing the low-waisted one are we doing the
26:44
high-waisted one and um we ended up on the low well it was a trial yeah thank you that was I mean
26:53
And like breath taken away, incredible. Because again, it's art, it's sophisticated
26:58
it's stunning, it's interesting. It is the opposite of a mermaid dress in a jewel tone
27:07
And that is the sort of fashion directional editorial moment that again, we do not always see on a mainstream red carpet
27:16
And it looks so beautiful and so cool and so interesting and all at the same time
27:21
So I was just like- Thank you. Yes. We're always really happy when it's received well
27:26
Well, I don't want to give away any of your future strategy, but I'm curious now that we've just concluded a fashion month
27:33
Are there any collections or trends or any hints that you can give us at things that you've been looking at that have caught your eye
27:42
You don't have to give me like an exact look number because I know you want to keep that to yourself
27:47
Is there anything that you were really excited about that you saw over the course of fashion month this season
27:51
Loewe Bottega, Calvin Klein, Acne, Grace Ling. She's a designer based in New York
28:00
I think she's really creative and she finds innovative ways to create her looks
28:05
It was great to be at Jonathan Anderson's first show of Dior. Like, wow, that was very exciting to be in that in that room, you know? Yeah
28:14
Yeah. I also want to talk a little bit about styling some of Jenna's more, quote unquote, low key looks. Yeah
28:19
The ones that aren't necessarily for like those big marquee red carpet moments
28:25
Are there certain brands that you lean on? How do you think about the strategy for it's a press look
28:30
It's still a major moment, but it's not like the red carpet. It's interviews
28:34
Yeah, I think Jenna said she put some pretty hard parameters when it comes to that, I think, which I love
28:41
because I know that when I'm pulling for a smaller press moment
28:46
that sometimes my crazy ideas don't make sense for this. So I really kind of stay in super chic
28:55
Again, I go back to her personal style, which is, you know, clean lines, simple
29:01
even like that 90s aesthetic, Carolyn Bessette Kennedy kind of, she loves just simple statement, not even statement
29:10
Like simple foundational foundational pieces. Like that's just her vibe. Doesn't need to shout
29:16
Yeah. Just make it chic. That's her all day. I'm the one who kind of
29:20
wants to put an exclamation point on things. Oh really? Hey we have to have a moment. Yeah you know what I mean
29:24
So she's like You're putting her in a 30 pound bejeweled like top. You sound like her right now
29:29
I got a text from her because we're going back and forth about Academy Gala tomorrow. She said I want to wear something
29:34
I can sit in? I want to wear something. What's the word she used
29:38
Hold on. You tell me. She's like, but I would love to wear something practical one day
29:43
And I said, you know what? You're like practical magic? What version of practical do we mean
29:50
Practical on Mars? Yeah. Okay. You've had so many amazing moments with her over the last couple of years
29:58
When you look back, like, what are you most proud of? I'm always so interested in, like, what part really resonates for you as an artist
30:08
I think the relationship that we've had and how we're growing and I think in Hollywood, I feel like it's very, it's a very fickle place
30:17
Transactional. And I feel like very transactional and it can be and sometimes it should be, I guess
30:22
But I feel like the relationship, it's a testament to like the respect and love we have for each other because I feel like a lot of people say like, oh, you guys, you just do a really great job with her
30:34
I'm like, no, I think it's because we understand and we've known each other for so long
30:39
We do a great job together. Yeah, we do a great job together. It feels like we're hanging out sometimes just in fittings
30:47
And I'm really proud of our relationship because in this world, people are like, oh, I'm going to hire another stylist or I'm going to hire this because I want a different look
30:55
And I think that's fine. I think that's great. Everyone should do what they want to do
31:00
But I think also sometimes just having a person that understands you
31:07
And I feel like some of the best collaborations come from people who have worked with each other for a long time because they push each other in different directions
31:16
And they're like, oh, I think you should do this. And like, you know, versus finding someone else who, you know, you kind of have to start over
31:24
Does that make sense? We call it institutional knowledge. Yeah, absolutely. Yeah, because, like, you know where the bodies are buried
31:31
You know where the references are. You know where the stories are. You are steeped in the history of the person and their experiences and their insecurities and their proud moments
31:42
And, you know, every beat that she's hit. So you're not going to repeat it
31:47
Like, you don't have to learn the lore. You don't have to read the book because you were there for every page of it being created
31:53
We were in a glam moment one time. And, like, I can say something. I can say two words but I don't even finish my sentence
31:59
and she's like oh is it too much like the it's kind of like
32:02
Devil Works Prada and Miranda Priestly and Meryl Streep and Stanley Tucci
32:08
and he's like is it too much like the oh no I thought that but
32:12
they're speaking in code and someone said that on set when they're like you guys
32:17
I want to know what you guys are talking about you guys don't even finish your sentence
32:20
you guys speak in code or something and I'm like oh shit we kind of do Because we just understand and we know the references of what we're talking about or what we wanted to do
32:29
And I think that's really special because it keeps things interesting. Yeah
32:34
You know? Well, I love it. That sounds very healthy. Yeah, it is
32:38
It is. Like therapeutically healthy. It is. It is. It is. It's great
32:44
Well, congratulations. Thank you. I'm just going to keep making you come back over and over and over again
32:48
I would love to. Because we always have so much to talk about. Yeah, it's so great. You are just such a joy every time I see you
32:54
The pleasure is truly mine. Yeah, thank you. Thank you, thank you, thank you