A Quote by Michelle Zauner
I've been working with my stylist for a long time, Cece Liu. We've gone from buying and returning clothing, to this point where maybe finally a designer will dress me without me having to buy and return it.
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Many of us are returning from a long journey during which we were forced to search for things that were of no interest to us. Now we realize that they were false. But this return cannot be made without pain, because we have been away for a long time and feel that we are strangers in out own land. It will take some time to find the friends who also left, and the places where our roots and treasures lie. But this will happen.
I need a stylist to help me pull together a wardrobe. I just don't have a lot of time to go shopping. So I have a stylist that knows what I want to wear, what cut of clothing I like, someone that really thinks and understands what my style and how I want to feel in the clothes.
I love working with a stylist but I also love having personal relationships with designers. A stylist is great for pulling together an entire outfit, accessories included, and for shaking me out of my comfort zone.
If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.
I've never shown up to the set of 'SNL' or 'Girls' without having a million options for me to try on. They don't bat an eye at my body or how to dress me because they dress all kinds of bodies as costumers.
Returning to WWE before retiring is not a question of whether they want to or I want to return. Neither I hope nor want to return, nor do they expect me to return or want me to return.
For me, my work is pretty much a lot of my identity. I mean I live to work, basically. With money I'm able to earn I don't put into clothes especially or things like that. I use it as a way of buying time to work. That's how I see money for me. It represents time to be by myself working on these ideas. So in that sense, the work is kind of a surrogate religion, maybe not so surrogate, maybe it is part religion.
Even though the industry is very big and there's lots of money, when it gets down to it, whether it's a photographer or a designer, as well as a stylist or makeup artist, you're really only working with maybe four or five people on a project. It's all quite small and intimate.
When you buy a piece of vintage clothing you're not just buying the fabric and thread - you're buying a piece of someone's past
I know exactly what I want to buy and I spend very little time, maybe 15 hours a year, buying stuff. I'll go in and out of Dunhill in 45 minutes and pick out a few suits. Boom. And I'm gone. I get my shirts at Charvet. I go in there - woosh - and buy 12 shirts and some ties; once a year and that's it.
It took me a long time to realise that I was a girl as a teenager. At that point I never really believed it. I looked like a boy for a long time. Now, finally, I feel like a woman.
I had been downright paranoid all afternoon, aware of everyone near me. By the time I went for the car, my neck and shoulders were knotted into one painful ache. The most frightening thing I'd seen all afternoon had been the prices on the designer clothing.
Men's clothing hasn't changed in 200 years, maybe a lapel gets a little wider or a tie gets narrower from time to time. But it's usually always the same. There is stupidity in men's fashion. But women know who they are. They can change. Clothing is seductive for women. They get different personas by buying new clothes. But men don't.
I've been getting calls from childhood friends who left the country and who tell me they finally have hope that they will return, and they tell me they will use everything they have learned living abroad to rebuild the country.
Maybe people will remember me for being a stylist, not a survivor.
That bothers me when I see that fashion editors are consultants for brands. It tells me that the designer has lost sight of what he or she really wants to do, and that he or she is listening to the strength of a very strong stylist and being a little watered down - and by watered down, I mean, the strength of the designer's vision. I'm not saying it's easy.
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