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Micaela Erlanger - Celebrity Fashion Stylist
865 Plays7 days ago
Today’s guest has shaped some of the most unforgettable silhouettes to grace the red carpet—from Lupita Nyong’o to Meryl Streep. But behind the Hollywood glamour is a mind wired for history, preservation, and obsession.
Micaela Erlanger is not just a celebrity stylist—she’s a fashion historian and a true collector at heart. Her eye goes beyond surface beauty, attuned instead to rarity, provenance, and the quiet stories stitched into every seam.
In this episode, we talk about the pieces that whisper rather than shout. About the role of instinct, reverence, and authorship in both styling and collecting. And how, in Micaela’s world, every garment is more than clothing—it’s a document of time, intention, and identity.
Micaela Erlanger - https://micaelaerlanger.com/
Cameron Steiner - https://www.instagram.com/cameronrosssteiner
Collectors Gene - https://www.collectorsgene.com
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Transcript
Fashion Icons and Collecting
00:00:00
Speaker
I called Lupita. I said, I need you for just a few minutes. This is the dress. And she came over, she tried it on. We freaking loved it. It was incredible. We got goosebumps.
00:00:12
Speaker
And then the dress left, right? And so without trying on anything else, that was it. that's how That's how that moment happened. And that moment so solidified her, I think, as a fashion icon. Thank you. What's going on, everybody? And welcome to Collector's Gene Radio.
00:00:30
Speaker
This is all about diving into the nuances of collecting and ultimately finding out whether or not our guests have what we like to call the collector's gene. If you have the time, please subscribe and leave a review. It truly helps.
Michaela Erlanger's Stylist Journey
00:00:44
Speaker
Thanks a bunch for listening, and please enjoy today's guest Collector's Gene Radio.
00:00:50
Speaker
Today's guest has shaped some of the most unforgettable silhouettes to grace the red carpet, from Meryl Streep to Lapid and Youngo But behind the Hollywood glamour is a mind wired for history, preservation, and obsession.
00:01:01
Speaker
Michaela Erlanger is my guest today, and she's not just a celebrity stylist. She's a fashion historian and a true collector at heart. Her eye goes beyond surface beauty, attuned to instead the rarity, provenance, and quiet stories stitched into every scene.
00:01:15
Speaker
We explore what it means to collect clothing not as a trend, but as a legacy. From forgotten ateliers to her own personal archive, Michaela takes us inside the thrill of the hunt, heartbreak of the one that got away, and the invisible line between dressing someone and making history.
00:01:30
Speaker
So without further ado, this is Michaela Erlanger for Collectors Gene Radio.
00:01:37
Speaker
Michaela Erlanger, so excited to have you on Collectors Gene Radio today. Thank you so much. I'm excited to be here too. It's great. you're You're one of the first, if not the first, I'm not sure, um folks that have had on that we're going to talk about all things styling and vintage fashion and and all that stuff.
00:01:55
Speaker
And you're obviously extremely well known for what you do. um you've You've worked with some of the biggest names in the in the world. But for all intents and purposes, you're a collector. So let's maybe start off by telling the listeners maybe the last thing that you collected that you were really jazzed about.
00:02:10
Speaker
Oh boy. I mean, i've been building this collection from, gosh, some of my earliest memories. I mean, from the things I inherited from my grandparents or things I've picked up along on my travels.
00:02:26
Speaker
ah So I recently acquired an incredibly special dress that was designed by Tom Ford. And it was...
00:02:37
Speaker
one of only a few that were produced and it actually was, looks very much like a wedding dress, although it's not. And I'm waiting still to get a lot of the documentation on it, but it is, if not one of one, one of very few that were ever made. And I got it not knowing where or when I'd wear it whatever,
00:03:01
Speaker
If it would just be one of those precious things that sits in your closet that has sort of its moment later in time, because I do collect that way. Not everything is with the intention of being worn for a particular moment or event.
00:03:15
Speaker
And my sister recently got married but didn't get to have ah wedding. And so part of me thinks that maybe this will be her something borrowed when the time comes. So
Stories Behind Vintage Fashion
00:03:28
Speaker
it's pretty darn special.
00:03:30
Speaker
That's amazing. Yeah, it's really spectacular. And then I also recently acquired a very special Versace couture piece that walked the runway back in 91, I think.
00:03:43
Speaker
It is phenomenal. It's fun. I've worn it a bunch of times. It's this fabulous two-piece crystal mesh um little set. And I love it.
00:03:55
Speaker
I actually have a tremendous amount of Versace, which is funny because I wouldn't necessarily... you know, consider myself Versace girl under sort of today's creative.
00:04:06
Speaker
But looking being back at a lot of the pieces that I own, they're 80s and 90s, and i have a tremendous amount of Versace, so... I'm so fascinated about the world of being a stylist, but also being a collector.
00:04:22
Speaker
So I want to I want to ask you a question real quick about the Tom Ford dress and and even the Versace dress, if you will. i mean, do these brands keep, I know they keep good archives, but are they accessible? I mean, are you able to reach out to a heritage director and say, Hey, I just got this piece. Can you get me an archive on it?
00:04:36
Speaker
Yes. Or can you get me authentication on it? And so and actually I apologize because, um, I should clarify that it was Tom Ford for Gucci. I always refer to the creative directors, you know? Even then, I mean, Gucci has very extensive archive, I'm sure. Incredible archive.
00:04:55
Speaker
I'm sure it's in Milan. I mean, are they willing to dig through and and get you some information? Yeah, you know, it's always case by case. And I think, you know, i acquired a bunch of vintage around the time that I was getting married. This is now, you know, five years ago.
00:05:10
Speaker
I had some vintage Chanel, a bunch of vintage Versace, some vintage Dolce. And, you know, vintage comes with a little bit of wear and tear. So I actually reached out to the brands and thankfully as a stylist who's worked super closely with these houses for many, many years,
00:05:28
Speaker
you know, I had these deep relationships, they kindly restored a lot of the pieces on my behalf. And that was phenomenal because, you know, vintage doesn't always fit perfectly either. And so you want to maintain the integrity of the piece.
00:05:42
Speaker
You might have to make some repairs. You might have to make some adjustments. You might also want to know more of the provenance and story. And so I'm so grateful that I am able to sort of, you know, get access to that information and access to that restoration.
00:06:00
Speaker
That is such a ah beautiful thing. There was a Valentino gown that I acquired like five or six years ago from Shrimpton Couture. And it was a one of one.
00:06:11
Speaker
And i had reached out to Valentino, I bought it and it was completely unlined. And I reached out to Valentino to see if they could show me a runway picture or give me additional
Styling with Vintage and Contemporary Pieces
00:06:23
Speaker
lining fabric and or help me with it And it actually sent us down this like rabbit hole um because the team there couldn't actually locate it for quite some time in their own archives. You know, it had the tags, it had all the labels, it had the the history of the piece, it had the style number on the tag, all the information, and it was totally real.
00:06:50
Speaker
And ultimately, we found out that it was an old sample that never got produced from their couture collection that must have been sold at like either to a private client or through a sample sale of some kind.
00:07:05
Speaker
And they had gone on to make other variations of this gown that they produced, they showed and they sold. But this was one that never came to light. And so... It was an amazing story at the end. It made the dress even more special because of that. And when I found out this information, I shared it with um miss Sherry from Shrimpton. And, you know, she was just as excited as I was because it's like we had uncovered this treasure.
00:07:32
Speaker
What's kind of one of one? Oh, it totally is. And that stuff never really happens, right? I mean, like... No, it doesn't. That's a pretty, like, unusual story. And I think that's also kind of, like, why I love vintage so much and why I love collecting so much is that all of these pieces tell a story and um have some sort of lineage attached to them. And just the discovery of that um is part of the fun.
00:07:59
Speaker
um And so anyway, long story short, they helped me with making a slip. I was able to wear the gown. I've enjoyed it many, many times. And yeah, it's a very special piece. And so suffice to say, you know, I'm so grateful for the access and the relationships that I have with the houses to be able to, um you know, take care of the pieces that I now acquire and own and enjoy.
00:08:25
Speaker
I love that. And so, I mean, you're, I mean, i would say a lot of stylists probably also collect, but I'm curious to know what's that juxtaposition like? I mean, are you styling people in some of your own personal collection or do you have a whole separate archive that you use just for styling? i mean, you also have to go out and source pieces.
00:08:43
Speaker
let Let everybody in a little bit through the, ah you know, let them into the parlor, if you will, of how all this works. come on in um So, you know, it works a number of different ways.
00:08:55
Speaker
I don't typically lend out my personal collection because a lot of these pieces A, are incredibly valuable and B, really are are not to be tailored to anyone other than myself.
00:09:09
Speaker
ah And so, and and they require a great deal of care. So I am quite sort of particular around the things that I've acquired over the years. However, I do use vintage products.
00:09:23
Speaker
all the time in my work, whether it is sourcing vintage for my clients to wear for public appearances or red carpets, um or even referencing vintage when I'm working with the design houses on creating custom designs. And so working with the houses to reference their archives,
00:09:43
Speaker
working with the houses to put together mood boards that may reference other designs or details techniques. And so it really plays a very important part in my work.
00:09:56
Speaker
And I have had countless red carpet moments where clients have been in, you know, vintage or vintage haute couture. ah One of the earliest red carpet moments of my career was when I was working with Lupita Nyong'o for her campaign for 12 Years a Slave for the awards season.
00:10:15
Speaker
And I put her in a vintage Valentina dress, not to be confused with Valentino, vintage Valentina. right um And it was actually very surprising, I think, at the time ah for people to see vintage on the carpet then.
00:10:31
Speaker
i
Trending Towards Vintage and Sustainable Fashion
00:10:32
Speaker
think that the sort of idea around wearing the new, new, you know hottest item on this season's runway, that sort of concept and approach to styling has really changed and I'm so happy about it.
00:10:45
Speaker
So back then it was, i think, surprising for people to see vintage my client in, you know, quote unquote, an old dress, you know, even though it was very special and, you know, a work of art, it it wasn't sort of the norm. Nowadays, you know, that was 13 years ago, 12 years ago, something like that.
00:11:07
Speaker
You know, nowadays, I think we have seen this incredible resurgence thanks to popularity in the secondhand market, thanks to conversations around sustainability, And also just like general shift in trends in the fact that like designers aren't putting out the same amount of product assortment in their collections anymore. And so as stylists, we had to get even more creative and more resourceful. And when you find something special that's one of a kind, that to me is just as exciting, if not more, than having access to the newest, latest, and greatest.
00:11:43
Speaker
And the you know the hunt and the story that comes along with it, I think is equally as exciting and powerful. Yeah, I mean, i think the interesting thing is, right, like when you're styling someone, every situation is going to be different.
00:11:56
Speaker
ah yeah Sometimes sometimes if it's it calls for a vintage moment. Sometimes it calls for something that is brand new. Sometimes it's yeah more contemporary, right? When do you make that decision of, I'm going to put you in vintage or you're going to be in something, you know, that's a little bit more contemporary? I mean, does it have to go with the event? Does it have to go with, you know, what what what is the the catalyst that makes you go one way or the other?
00:12:20
Speaker
Well, totally. I think one point to clarify is that there's a lot of vintage that still feels contemporary. just depends on who the designer was and what the period was and Well, those are the collectible pieces, right? The stuff that's lasted. Exactly. I'm talking more about like, is it new or is it, you know, 20 plus years old?
00:12:39
Speaker
i So, you know, I think it really comes down to a number of things. I think it comes down to the client. I think it comes down to what is it that we are promoting? Is it a red carpet event? Is it advertising campaign? Like what what's the appearance?
00:12:53
Speaker
You know, is it an award show? Is it a movie premiere? know, all of these sort of different variables and, And what is the intention behind getting dressed that day? And so I always work off of a mood board with my clients that we've sort of agreed upon.
00:13:08
Speaker
And I always work with my clients on a mood board ahead of time to really align on the general vision and direction of whatever press tour, or if I'm on an advertising campaign, I'm working with, you know,
00:13:24
Speaker
the creative leads there to make sure that we're aligned on what the vision is, whether that's the photographer, the art director, you know producers, whomever, the ad agency, to really get clear on that.
00:13:36
Speaker
And it's time to source. And just as I look at the current collections on you know Vogue Runway, I'm also equally looking at the vintage collections. And for me, this isn't, again, something new. This has always been a passion of mine. It's something I've included in my process of styling from day one.
00:13:59
Speaker
But there might be times where there are reasons to call upon vintage pieces more so. So it's not even really client specific. It's more just creative specific.
00:14:15
Speaker
Yeah. And what would you say the split is between finding something that you have in your archive for the client versus having to go out and source it? 99.9% of everything is being sourced.
00:14:27
Speaker
it You know, the way we work typically with the houses, at least, is things are on loan, right? Or they're being made for a client. And even when they're being made, they're still being returned to the designer's archives, right? They belong to the designer. They are kept in there.
00:14:43
Speaker
archives for, you know,
Challenges of Vintage Styling
00:14:45
Speaker
future exhibitions or retrospectives and so forth and their, you know, own design needs. And so what comes in has to go back out and it's not often held.
00:14:56
Speaker
And a lot of time, again, times have changed depending on the vintage dealer or depending on the house, if they're willing to open the archive, which many do for me, which isn't it.
00:15:07
Speaker
incredible privilege. A lot of the vintage dealers these days will also consider lending, but it has to be lent for a short period of time, literally worn and returned or rented.
00:15:20
Speaker
So unless the client really wants to buy and has a passion for collecting vintage like I do, or falls in love with a piece that they can't let go, it's all being sourced for one-time use.
00:15:32
Speaker
Certainly. And let's say a brand decides, you know, we'll make this piece, but we're going to obviously keep it in our archive forever um or for however long for future exhibitions, like you said.
00:15:44
Speaker
Are they comping whatever those costs are because they're keeping the piece anyway? Yeah, so typically it is the sort of exchange, if you will, when the designer is making something for a major appearance.
00:15:57
Speaker
They're making this in exchange for the press value, right? And the return on the investment is the press value. So they are making the garment, you know, taking care of that process and the expense of producing it.
00:16:10
Speaker
And it's being worn and photographed and seen around the world. And the metrics are crazy. The exposure that these brands get, both big and small, is really powerful.
00:16:24
Speaker
Of course, you know, there's bigger events and smaller events. So brands will take that into consideration, of course, when deciding if they're going to make something. But we're borrowing the current seasons, even the past seasons and the past archives, much more fluidly. And yes, it's all for loan.
00:16:43
Speaker
Well, not every person is the same, right? So I'm assuming alterations have to almost always be in place. I mean, it can't be it can't be that often that something fits like a glove, right? Correct. I mean, unless you are of the same size as the fit model or the runway model. Sure. No, just about everything requires alterations. If it is a runway look, if it's a commercial collection, there are times when sizing might be available. Of course, we're seeing more inclusivity on the runways now. So there might be a range in sizes that have walked the runway.
00:17:14
Speaker
But yes, I mean, tailoring nine out of 10 times is happening. What about with vintage though? I mean, vintage is a really touchy subject. Yes. Vintage is a touchy subject and that is always case by case.
00:17:26
Speaker
Right. I'm i'm assuming the the the marketing efforts have to be worth it enough for the person who owns the vintage piece to say, yeah, I want to see this piece and do whatever you need to do to it. Yep. Correct. And so that always involves at the core trust and communication between myself and whomever is behind the vintage garment, whether that's a you know, vintage dealer, a private collector, ah house, et cetera.
00:17:52
Speaker
There has to be full transparency and we request approval ahead of time. And there have been times when I've been told, sorry, no you can't make that change. And I say to my client, sorry, no, you can't wear this dress or whatever it might be.
00:18:07
Speaker
And there are other times where they say, perhaps we're okay with this as long as you tell us what the alterations are. Perhaps their seamstress has to do the work. ah Perhaps the alterations have to be reversible and reversed.
00:18:19
Speaker
You know, perhaps a credit card has to be put down. Like any number of different scenarios can happen. There's also times when the houses, if they're opening their archives to us, perhaps they don't want the original, original garment on the red carpet or shipped or this or that because of, you know, concerns around wear and tear.
00:18:39
Speaker
And sometimes they will then reproduce the piece to the client's measurements. And it is a, you know, copy of an archived dress that is less common unless it is a big award show.
00:18:55
Speaker
And that ultimately then falls into a custom, you know, the custom design category. But Yeah, it really, it varies. I mean, if you look at Zendaya when she wore that incredible Mugler, what was It was like that robotic piece. It was iconic piece that La Roche styled her in. That was his work, not mine.
00:19:15
Speaker
It was sensational. And what was so sensational about it was not only was it the perfect look for her Dune premiere, but it was the actual look.
00:19:27
Speaker
Mugler piece itself. It was not reproduced. It was pulled from the archive. And it was one of those scenarios, Law has talked about it on other podcasts, where it was either going to fit and work and they were going to allow it or it was not.
00:19:43
Speaker
And they that was the end of the conversation. and it Like that was a magical moment. Like that was the perfect look for the perfect client for the perfect occasion.
00:19:56
Speaker
And that's just when the stars align. and and And those are the moments that go down in history, right? Or when Natalie Portman wore the reproduction of the Juno dress in Cannes last year from Dior, that was amazing.
00:20:09
Speaker
spectacular. She didn't wear the actual dress that was in the archive. They remade it for her for a global event. It was made pretty much identical to the original, you know, and by the house of Dior.
00:20:25
Speaker
And that too had the internet ablaze. um Again, perfect dress, perfect person to wear it and perfect moment to see it shine.
00:20:37
Speaker
How often does the client want to purchase the thing that they're being styled in? You know, I think it's so client dependent. My clients are not as fashion obsessed as I am So i have not run into that myself. I think
Personal Collection and Its Significance
00:20:53
Speaker
they enjoy and deeply appreciate the artistry and the beauty of getting to wear these things. But unfortunately in our culture, this idea of wearing things more than once or twice is rare.
00:21:07
Speaker
i think there have certainly been occasions where brands have gifted ah dress where perhaps the clients won an award and now it goes into a museum instead of a storage unit. you know there are There are certainly exceptions when clients have asked, can I please hang on to this or can I buy this? But it is rare, i find.
00:21:27
Speaker
It's me. I'm one I mean, are you ever buying any of these pieces? Yes, I buy stuff all the time. It's a problem. ah It's an illness. But I have a beautiful, incredible collection of things that's, you know, continuing to grow. And and I'm so proud of my own archive. And right now I'm actually going through the whole appraisal process. on It's also so interesting because a lot of the pieces will, you know, the values and appraisals also spike around demand and popularity of a designer and of a house. And so it's really interesting to see the ebb and flow.
00:22:09
Speaker
I've got a ton of Chanel. That's just, it's from Carl's days and, Oh my God, the pieces are phenomenal. And I wear them a lot. I think the interesting thing about vintage fashion is that it, it does always revolve around whoever the creative director was at that time or what was going on with the business at that time. You know for example, Tom Ford and Gucci or, you know, Carl being around.
00:22:31
Speaker
Do you find that sometimes the provenance of the creative director who was working on this at that time holds almost more value than the piece itself? Yes, I do.
00:22:42
Speaker
It's interesting because you can look at that value as a right, there's like the the monetary figure that's attached to it, right? The price attached to it.
00:22:53
Speaker
But then there's the sort of more historical importance and value that's attached to it, right? The story of it and the provenance that holds.
00:23:04
Speaker
And personally, i collect not because I'm looking to you know, build out ah collection that's worth a lot.
00:23:15
Speaker
I'm collecting things that have meaning to me and that bring me joy or that have a story or that are interesting because of who made them or where they came from.
00:23:28
Speaker
And so for me, the value that I attach to things is um rooted more so in where did it come from under whose creative was it?
00:23:39
Speaker
Maybe who wore it or where did it come from? or how, you know, why was it made? And also like what provenance am I adding to it? You know? Yeah, certainly. I have role in the story of these pieces as well. And so that's pretty cool.
00:23:57
Speaker
Have you ever walked away from a piece and and obviously you couldn't stop thinking about it? Yes. I still have remorse. This happens frequently, but I only have, I have a, you know,
00:24:10
Speaker
allotted budget to buying my vintage every year. And I try to stay within that. There are exceptions to the rule, but there's two things I can think about that I will just never get over. The first was I had the option to acquire the last ever haute couture Chanel wedding dress designed by Coco herself.
00:24:38
Speaker
And it was masterpiece. Now at the time i was married, i didn't need a wedding dress for no reason, but it was the story behind it. It was so beautiful.
00:24:53
Speaker
it was so special. And i just, i I couldn't unsee it. And the documentation and all of it was just out of this world. Well, I'm divorced now, so I wish I had it but for that future wedding. But um that is something I will never forget. And the other piece, again, is Versace. So funny. have so much Versace.
00:25:17
Speaker
This is a dress that think Christina Aguilera wore. It was the chainmail butterfly dress. I think she wore it to VMAs, if I recall correctly. it was also, there's like an iconic photo of Kate Moss and I think Naomi walking out of a party early 90s. And the two of them are in like twins of the dress. Like they're slightly different, but they're very similar.
00:25:42
Speaker
and and this was one of those actual dresses. I mean, just phenomenal. And I just didn't move fast enough on it. And it happens. and It happened. You know, I was like, should I, should I not? It's really expensive, but so special.
00:25:59
Speaker
I'll totally wear this and enjoy this. But like, i probably shouldn't do this right now. And alas, Here we are. And you never know. I mean, these things might resurface again, too. So it it also happens, you know, I mean, stuff stuff comes back around and sometimes it goes to auction. Sometimes, you know, who bought it and they're ready to move from it. So totally do things ever find their way out of your collection to make room for other things or are you keeping everything that you buy?
00:26:28
Speaker
The answer is yes, but very selectively so. There are things that I hang on to for sentimental reasons. There are things that I've never even worn, but I'm never going to let go because they are just so special.
00:26:42
Speaker
It pretty rare for me to... be willing to part with something. But there have been moments where I'm like, this dress deserves a new home.
00:26:52
Speaker
You know, it's, it's lived its life with me. It's like, I talk to these sort of inanimate objects, like, their um but I have that like, real experience, you know?
00:27:05
Speaker
Yeah, all collectors do. Yeah, that's kind of, that's how it feels. How has your collecting evolved over the years? I mean, are you jaded now? You've seen so much stuff. Are you only interested in ultra rare, very coveted pieces or are you still just buying what you like?
00:27:21
Speaker
I just buy what I like,
Preservation and Care for Vintage Fashion
00:27:22
Speaker
honestly. i mean, i i mean, I am so fortunate that I have, you know, incredible resources and I get to see so much, but I buy things for, like I said, the joy, beauty be able to wear them. Um, sometimes not, but most of the time I do and to hopefully also be able to pass them down or to be able to share in their story. And so for me, that doesn't mean it needs to be the rarest, but greatest thing. i mean, I've
00:27:55
Speaker
I go to the secondhand shops just as much as I do, you know, the big vintage dealers or the auction houses. And so for me, it's really varied. It could be something as pretty as like a you know, unsigned Monadaray clutch that's just like so beautiful and, you know, has no label, but makes me smile beautiful.
00:28:18
Speaker
It will be my evening bag. You know, it's like little things um too. It's not just the big, you know, ah more recognizable things. Although I do have quite a lot of that in my own collection, but I equally appreciate the sort of the discovery of smaller brands or things that just make you smile.
00:28:45
Speaker
What's your process for preserving and protecting your collection? what What do you recommend people do if they have a special piece at home that you know should be stored and and taken care of properly?
00:28:56
Speaker
Absolutely. So that you can buy it from them one day. There is one place and one place only. It's Mecca, in my opinion. It's called Wovo.
00:29:09
Speaker
And an arts and wardrobe collection. um storage facility that services worldwide, but is here in New York, in Long Island City.
00:29:23
Speaker
It is, in my opinion, the only trusted resource for this kind of thing. They do restoration, storage, and the care and delivery of pieces in case you don't have room for them, but want to enjoy them.
00:29:44
Speaker
And they're a pretty phenomenal resource. So a lot of designers store their archives with Wovo and a lot of clients like myself, You I live in New York City. ah Closet space really valuable and hard to come by.
00:30:01
Speaker
I need to also care for very high quality things. And so they are a white glove phenomenal service that will come pick up everything, inspect it, do a report on it make suggestions for repair and cleaning can facilitate that documented, store it correctly. It's in the most spectacular facility.
00:30:26
Speaker
And it's also cataloged so that you can easily um go onto the app and see what you have in storage and select delivery if you so need to get access to something to wear it whatever.
00:30:41
Speaker
you know, work with it or whatever it might be. I've actually been working with them for a very long time. I want to say over a decade, I've sent a ton of clients to them and I've worked with them, you know, in my own life. They are phenomenal.
00:30:53
Speaker
The other thing that's cool is they also do, you know, storage for art, storage for wine. um And I think storage for some other things. And it just is a testament to the quality of their facilities, right? When you're working with other collectible things um outside of fashion. So it is phenomenal.
00:31:15
Speaker
Is it all digitized? You can see? Yeah, it's all digitized. and And then they'll deliver your clothes anywhere in the world. Like they are, is ah incredible service and resource that um I hope more people know about now.
00:31:29
Speaker
Amazing. How do you spell it? Wovo, U-O-V-O. Awesome. Yeah. We'll be sure to link that up because that sounds pretty incredible. Yeah. Actually, I just had a call with them because I've bought more things.
00:31:44
Speaker
Oops. Shocker. To make some room for them. But in particular, I'm prioritizing storing my vintage with them because I know that they're and capabilities and resources are so ah phenomenal.
00:31:59
Speaker
yeah But everything, like your shoes, your accessories, it doesn't matter. You can store it all there. So it's really great.
00:32:07
Speaker
And other sort of...
00:32:10
Speaker
recommendations I have, you know, I have a Rolodex of the absolute best cleaners, um repair places. Like this is my world, right? As a stylist, like I know the best seamstresses. I know the best tailors. I know the best cleaners. I have the most incredible Rolodex of solutions.
00:32:29
Speaker
Rosa's Laundry is a phenomenal resource. She's actually in New Jersey, but she works out of She has a lot of pickups in the New York area and she's a master at what she does. And there's a bunch of others in Manhattan and, you know, the list goes on and on. And I'm happy to share them with you um if you want to include them in your write up of this or any other materials you might have. But yeah, I mean, it's really important. you know, care for your things is just as important as um enjoying them.
00:32:57
Speaker
When you're collecting for yourself, I mean, how much does condition matter when it's for you and your archive, if it's something special, but the condition's not absolutely mint? I mean, does that bother you? Or you know what are your bugaboos and what are your leniencies?
00:33:11
Speaker
Yeah, it really depends. I have this incredible Jean Dessay haute couture piece from the early 50s that has very, very faint marks. It looks like whomever wore it was enjoying a glass of champagne and maybe had a little sprinkle down the side of her dress. And I kind of love it because you know whoever wore this dress was enjoying themselves in it.
00:33:34
Speaker
But it's so faint and hard to see. it would never read in a photograph or something like that. And it didn't bother me and the interior of the dress is completely falling apart.
00:33:46
Speaker
I mean, the underwire is barely an underwire. The zipper has never been replaced. Like it is the lining, you know, the silk or the acetate or whatever it was inside of the gown is like totally torn.
00:34:02
Speaker
And I love it. I love it so much. I think I would repair something if it was going to damage the enjoyment of wearing something, but I try to keep the integrity of a piece for as long as I can.
00:34:19
Speaker
you know, I never
Collaborations and Iconic Moments
00:34:20
Speaker
want to remove a label. I never want to really alter anything. If a zipper breaks, okay, fine. You might have to replace that in order to wear it, right? That's just the reality.
00:34:30
Speaker
But I'm pretty open-minded. And then whenever I do alterations on my own pieces, because I'm, you know, five, two and a half and, um,
00:34:41
Speaker
you know, very petite, you know, I wind up doing reversible alterations. I don't think I've ever cut anything that I've owned. I'm like, it gives me pain to think about.
00:34:55
Speaker
And that's just my own personal preference. So sometimes I won't buy something if it means I'm going to have to totally, you know, transform it. When you know you're working with a client, you know obviously they they're putting their trust into you based on your taste, but how often does the client ever want to collaborate in terms of, hey, this is what I'm thinking or this is what I'm into, or is it really just full reins?
00:35:19
Speaker
you know you You do what you got to do. You know, it's so funny. My clients really run a full spectrum. I have some clients that are deeply collaborative and they enjoy the process as do I. And we bounce ideas around and it really is like a beautiful experience.
00:35:38
Speaker
And that is like rooted in a lot of trust and communication. And I have other clients where they're just not so interested in fashion. It's just not their area of expertise or interest or whatever, you know, their thing is music or their thing is acting. And like, that's great. Like, let this be where I can step in and help educate you and help show you and help guide you. And we'll find our way together.
00:36:08
Speaker
then I have, I have, don't currently have, I have had clients that are like fully invested in the creative process. Like they're kind of telling me what they want and then I'm executing on it.
00:36:22
Speaker
And that's funny. That's like a funnier dynamic. I don't mind it at all. Of course, it's still collaborative, but I feel like it is a very different dynamic when you have maybe a slightly different vision for someone than they do.
00:36:39
Speaker
But what's cool is when you're able to find that common ground. Is there a styling moment maybe that you're particularly proud of? Not necessarily because it was the most visible or glamorous, but maybe because it just perfectly embodied the story that you wanted to tell. And it's something that you always go back and reference.
00:36:56
Speaker
I mean, I'll never forget Lupita's red Ralph Lauren gown that she wore to the 2013 or 2014 Golden Globes. The same year that she was promoting 12 Years a Slave, the same year she won the Oscar.
00:37:09
Speaker
And the reason I'm talking about that dress was it was the first and only dress that we tried on. I saw it walk the runway. This was obviously a new collection piece, right? And I called the team at Ralph right away.
00:37:23
Speaker
And I said, that's her dress. Like, how soon can you get it to me? And it was actually at Vogue. um So it had literally gone from the runway to Vogue. It was in consideration for rogue a Vogue dress.
00:37:37
Speaker
cover. And I said, I just need it for an hour to try on my client. Can you just get it to me for an hour? So I got it. I called Lupita. I said, I need you for just a few minutes.
00:37:49
Speaker
This is the dress. And she came over, she tried it on and we freaking loved it. It was incredible. We got goosebumps. Um, and then the dress left, right? And I'll never forget the brand was like, listen, if we pull it for you, then it's not going to be shot for the cover of Vogue.
00:38:09
Speaker
So we need to know and we need you to confirm if this is actually really happening. And so without trying on anything else, That was it.
00:38:20
Speaker
that's how That's how that moment happened. And that moment so solidified her, I think, as a fashion icon. And I think that moment was a very important turning point in her career and in my career.
00:38:32
Speaker
And also, I think it was an a really important moment for um Ralph Lauren to have that presence on the Golden Globes with that particular client wearing their gown. It was amazing.
00:38:46
Speaker
It was so special. And yeah, I don't think I've ever told that story before. So that's exciting. and Yeah, that's one that I really love. And then of course, there've been others. I mean, there's so many, it's really hard for me to so pick and choose.
00:39:01
Speaker
I love it. mean, for Ralph to say, yeah, we're going to skip the cover of Vogue and we want, you know, her to be in this dress yeah and and wear it. I mean, that's that's as special as it gets. It's as special as it gets.
00:39:12
Speaker
Sorry, Anna. um But now the gown is in their archive, ironically. And I'm so grateful I've gotten to visit the Ralph Lauren archive, which is, I mean, one of the most spectacular archives I've ever had the privilege of seeing.
00:39:30
Speaker
I've oddly had the pleasure of seeing it as well. And it is probably the most insane building. Insane. Insane. Yeah, it's it's it's madness. And the way it's set up is is incredible. Totally.
00:39:42
Speaker
It used to be a secret thing. I don't know how secret it is. but Yeah, I don't know how secret it is anymore or after this podcast. but But now that dress, I call it a sleeping beauty because it's in a drawer, in tissue, you know like i kind of like an art filing cabinet. you know And it it's in there getting her beauty sleep. you know Maybe it will be unearthed again. But it's a very special dress that,
00:40:09
Speaker
I guess is almost vintage. So I love it. Yeah. Well, on that note, let's wrap it
Insights into Collecting Habits
00:40:15
Speaker
up with the collector's gene rundown. You know, the drill here, you can answer these questions based on any of the things that you've collected, whether they're for yourself or for a client or any special memory that comes to mind. So the first one is what's the one that got away? And you may have answered this earlier, but what's the one that got away?
00:40:31
Speaker
The one that got away is the Coco Chanel gown, the last gown she ever designed. All right, we're putting it putting it into the ether for it to make its way back to you. Thank How about the on-deck circle? So what's next for you collecting? Maybe something that you're hunting after?
00:40:48
Speaker
know, actually, my interest has turned a little bit towards jewelry. And so... I've been thinking about what I want to get myself for my 40th birthday. And I think it's going to be a ah vintage piece. I love Belle Perron. I love Bois Vint. I love you know jewelry of that time.
00:41:07
Speaker
And I've been thinking and I've been looking and I've been hunting. And I think that's what will be next. I love it. How about the unobtainable? So something that's too expensive in a museum, private collection, just complete unobtainium, and you would hop on it unadmitted if you could.
00:41:24
Speaker
Yeah, I think the Dior Juno dress that I had the pleasure of seeing at the Met exhibition several years ago. Yeah, that'd be a pretty special one to own. Yeah, and that will never happen, just to be clear.
00:41:36
Speaker
That's the point of the question. The page one rewrite. So if you could collect anything besides fashion, vintage fashion, and money was no object, what would it be? Either high jewelry and vintage jewelry and art.
00:41:50
Speaker
Yeah, vintage jewelry is certainly having a yeah ah global moment, I would say, right now for everybody. it's It's awesome because vintage watches, of course, have become very popular, and it's gotten a ton of people that like vintage watches and into vintage jewelry because they realize Cartier and Van Cleef and all these guys made amazing stuff back in the day. Made things. Bulgari and all this stuff. So it's it's been fun to watch.
00:42:12
Speaker
Yeah. The GOAT. Who do you look up to in the collecting world, or who do you think is a great collector? think there's three. So Daphne Guinness. Okay. I mean, her personal collection is extraordinary. I mean, and her relationship and story with the queen and all of that, I could only imagine what it would be like to be a fly on the wall of her collection.
00:42:35
Speaker
Henry Wilkinson and his Givenchy Audrey Hepburn, you know, archive of just pure magic. And then...
00:42:47
Speaker
Jordan Roth, who I think has ah phenomenal i and appreciation for fashion and couture.
00:42:59
Speaker
And i would love to get a sneak peek into his closet. The hunt or the ownership? Which one do you enjoy more? The hunt. It's certainly the most thrilling part of the... yeah That's it.
00:43:12
Speaker
It's just like, for me, That is the part of the process that gives a lot of your piece of meaning, you know? Are you mainly hunting for stuff online, in person? do you have to travel? Are there auctions? Where's kind of your bread and butter?
00:43:28
Speaker
Yeah, I would say online and in person, but in person when I travel. So when I go to Paris, when I go to Milan, wherever I may be, I take the time to always hit local vintage shops or to reach out to a lot of the collectors or dealers whom I don't get to see, you know, here in the States. And so I make a point of doing that.
00:43:49
Speaker
I love it. And most importantly, do you feel that you were born with the collector's jean? 100%. My grandmother was an antiques dealer. You had no choice. inherited it. Michaela, thanks so much for coming on the show today.
00:44:03
Speaker
Such a pleasure to learn about all that you do. It's it's super fascinating. i have so many more questions, so I hope we get to do this again. And all the best to you in finding your vintage Chanel dress. Thank you so much.
00:44:15
Speaker
I appreciate it. This has been great.
00:44:19
Speaker
All right, that does it for this episode. Thank you all for listening to Collector's Gene Radio.