JW: It was a mixture of everything from established designers and brands to emerging designers, vintage and costume.
MJW: For the cast, I pulled in large quantities — there were scenes where we had up to 100 people. Kyle brought the luxury fashion market, and I brought small indie brands and staple fashion in large quantities to the table. We mixed both and created looks for many of the scenes in the film. For scenes such as the pole dancing, I was excited to style the dancer, Neyon, in a new Italian brand, Fantabody.
We also relied heavily on costuming. For the beautiful brown section, we sourced rich chocolate fabric in Manhattan and made custom outfits for each person on set. Same for the magical scene at Fort Worth Water Gardens — we created those eye-catching black headdresses and gowns on the fly.
TV: Which songs do you love from the album?
JW: Honestly, I love the album in its entirety. To me, it’s like a stream of thoughts; it flows, so I look at the album as one piece or one song. But if I had to pick, I would say “Down With the Clique," “Way to the Show,” and “Almeda.”
MJW: The entire album is a bop, but if I had to choose, I’d say “Almeda.” Hands down.
“Brown liquor, brown liquor. Brown skin, brown face.
Brown leather, brown sugar. Brown leaves, brown keys.
Brown creepers, brown face. Black skin, black braids.
Black waves, black days. Black baes, black things.
These are black-owned things.”
And in a strong second place, tied are both “My Skin My Logo” and “Binz.”
TV: Tell me about your career journey. What’s some advice you can share for aspiring stylists?
JW: So a funny thing is I was in art school with the hopes of becoming a sculptor. While attending college, I began interning at a costume house in Hollywood, where we produced custom costumes for pop musicians like Britney Spears, Katy Perry, Lady Gaga, and Nicki Minaj. I didn’t have a costuming background, but I was super crafty, knew how to sew, and learned quickly. The costume house was a collective between designer Marco and Ashton; they both saw my drive and ended up hiring me full time and sending me on tour with the Black Eyed Peas, where I was part of their wardrobe team. So needless to say, I dropped out of school and toured worldwide for three years. When the tour ended, I decided to explore more aspects of the industry outside of music and costuming. With that work, I ended up landing a lead stylist position at a major fashion company in Philadelphia. On weekends, I’d commute to NYC to do editorials for indie magazines. After a year in Philly, the next natural step was to move to New York, test the waters, and implement everything I learned along the way. So fast-forward four years, and here I am now.
[For aspiring creatives, I’d say] stay curious and do tons of research; trust yourself and your journey. Have fun while on it, collaborate with creatives you look up to and can see yourself growing with, work hard, be consistent, and most importantly, be patient.
MJW: I moved to NYC in 2011 to start my studies at LIM College. After a short time, I left school early and quickly immersed myself in the industry. I found an internship with a stylist who was a contributing fashion editor for Teen Vogue at the time, then I worked my way up. I spent most of my career to this date working with legendary stylists (Sophia Neophitou, Karl Templer, Charlotte Stockdale, to name a few) and really learning and perfecting my craft. I started assisting at 19, and just trained myself on different processes to help me become a well-equipped stylist. I worked at Opening Ceremony for two years as well, where I was an online stylist, learning the digital side of the industry and meeting cool, upcoming brands and creatives that I am still friends and collaborators with today. Shortly after, I landed a lead first-assistant role with mega-editor Giovanna Battaglia-Engelbert. With her, I traveled the world and learned luxury editorial fashion on another level within Japanese Vogue and W magazine. In 2017, I went off on my own as an editor. I did a small stint at Net-A-Porter, as their deputy styling editor, then moved back into editorial styling to build my brand and creative path I dreamed of my whole life.
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