The Who What Wear Podcast: Celebrity Stylist Micaela Erlanger Talks Dressing Lupita Nyong'o for Her Ethereal "The Odyssey" Press Tour

0:10Welcome to the Who Outwear podcast. I'm your host, Hillary Kerr, and today I'm chatting with celebrity stylist Micaela Erlanger. Micaela is a renowned stylist who works with stars like Meryl Streep and Kelly Clarkson, but today we are here to chat about her collaboration with her long-term stylist. longtime client, Lupita Nyong 'o, on the Odyssey Press Tour. We get into everything from drawing inspiration from Greek mythology to crafting a color palette for a press tour, and I cannot wait for you all to hear from her. It's all coming up on Who What Wear.

0:56Hillary Kerr:Mikayla thank you so much for joining me the last time that we sat down for who it where was in 2024 for our other podcast second life which we will link to that episode in our show notes for anyone who wants the deep dive on your career but for anyone who missed it first of all go and listen to it because it's a great episode but secondly can you give our audience just like a little top level background on how you first found your way into fashion and styling specifically? Definitely. So I think I always knew I wanted to be in a creative field. And I think in my core being, I always knew I wanted to be a stylist, but I didn't know that the world of styling existed at the time.

1:38And it was through a series of internships in college, really, where I sort of discovered the world of editorial. And I got my start as an intern at various publications. I was in the Condé Nast summer intern program and then worked at Hearst for a bunch of magazines and really learned the ropes there, working as an intern in the fashion closet and ultimately working as a freelance fashion assistant to the fashion directors at Harper's, at Cosmo, etc. And that's really where I kind of cut my teeth on all things styling. And then it was later on where I met my mentor, Annabelle Tolman, who I worked with for just over six years.

2:23And at the time, she was really kind of pioneering the celebrity styling space. I learned so much from her. And that's really what sort of set me forth on this path.

2:33Hillary Kerr:And what a path it has been. We're going to get into all of it. But before we get into some of the nitty gritty, I have to congratulate you on your daytime Emmy nomination for outstanding costume design and styling for the Kelly Clarkson show. Can you talk to me a little bit about what goes into styling a show like that? And like, also, wow, I know I it's such a pinch me moment. I can't believe that this nomination has come. I'm super grateful for just the nomination in and of itself. You know, styling a TV show is so wildly different than styling a client for the red carpet. It is a massive undertaking.

3:17And, you know, we were doing a couple hundred outfits per season. This isn't like a press run where you have a movie to promote and you've got like 15, 20 red carpets and you're done. That in and of itself is also like a huge undertaking. But this is like, this is on steroids. I'm so grateful to have such an extraordinary team. But you know, we really were running a very robust kind of military operation, if you would. We had very regular fittings. We were working with Kelly very closely throughout all of the seasons of the show. And we really had to think about who she was on TV, not who she was as just an artist.

3:59And when you think about sort of the multi dimensional components of a talent that is both on air personality, and a musician, and a mom, you have to think about how you want them to show up in the world. And so when she moved the show to New York, I thought about a new Kelly in New York for her show. And we really kind of took it from there. She was incredibly collaborative and a joy to work with. And I'm so grateful for her trust. But long days, babe. Long days.

4:32Hillary Kerr:I also want to point out, too, that like for a red carpet, you have relatively limited movement that goes with it. When it comes to a TV show, there's sitting and standing and singing and moving and doing this and that. And it's live. And so, like, I just think about, like, the logistics of because for the record, for folks who don't know, too, like oftentimes in film and TV, a sitting pant is different from a standing pant. The way clothes show up on camera is very different in a live setting, as opposed to on the red carpet or in a photo shoot. And it's funny, you know, going back to your first question, in between working at the magazines and working for my mentor, I had a stint in costume design, and I worked on two feature films back to back.

5:21And I think like somewhere along the way, now I'm back to, you know, my roots in that regard. And I learned so much back then, because to your point, it takes on a very different process than it would, you know, if you were just standing to have your picture taken on the red carpet. And there's a lot of other considerations. Also, what are you singing? Who are you interviewing? What are you doing? What game are you playing? on air? What subject matter are you talking about? You know, how much movement do you need in your body? Totally. So all of these are the things that we would consider. And I mean, there was so many logistics to on top of the creative side of things in order to pull together really compelling daytime TV wardrobe.

6:12Hillary Kerr:So where does the mic go? Like, we would build in mic packs to a lot of the outfits and ensure that there was if there wasn't a place to clip it, that there was a place to secure it and we might have to make that. So yeah, a lot of things to consider. And I think the world of Kelly and I am just so grateful for her collaboration and trust in this process. I think that's also like what made it so successful and fun was having a client who was down to play. Well, speaking of that, what we are really here today to discuss is another client of yours. You have so many wonderful clients and so many long-term clients.

6:53Hillary Kerr:One of the things that has been such a joy to watch from afar is your relationship with Lupita. going all the way back to her campaign that led to the Oscar for 12 Years a Slave in 2014 and that perfect powder blue Prada gown. I also think like you really made capes on the red carpet. Like I know that she was not the first, but like she, it is cemented in my mind. And now 12 years after that momentous look, you are back on another press tour with her for the Odyssey. Obviously, she, like many of your clients, is very long term. I'm curious about your relationship and the styling choices that you make together and how they have evolved over the years.

7:39I'm so grateful for this relationship. And I'm so lucky that I can count my client also as a dear friend. And I think our collaboration is really rooted in this deep trust and mutual respect for one another. And proven results at this point. And proven results. But I think, you know, yes, that first year out the gate was momentous for every reason. Not only did her talent earn her the Academy Award, but the choices that we made, I think, also reflected how important Image is and how the red carpet can really catapult somebody as well. and what brand positioning looks like, why choosing a dress is important and intentional and strategic.

8:34I think after that year, we really kind of found our groove. And so fast forward, this is 12 years later. I mean, it's insane to think about. We're on this new, massive, momentous press tour with an extraordinary cast. and we really got to play. And I think we've also just like found our groove. You know, it always starts, at least with us, with some sort of dialogue or loose mood board. And I'm a huge Pinterest girl. Like my Pinterest is off the chain. I have Pinterest boards for everything. I'll share some ideas with her and get her feedback and she'll share some ideas back. And from there, you know, I think we kind of crystallize a general direction.

9:24Then you have to see what's available, right? You get to see what's available in the market, what's available to be made. Are we commissioning something custom? Are we sourcing archival pieces? What is the narrative going to look like based on what we can access? And so sometimes that mood board will evolve. And that's a very very common thing i also think our choices are often rooted in a lot of reference in history we're inspired a lot by vintage collections we're inspired a lot by art by film also given the fact she plays two roles in this movie is pretty cool and so we were having fun kind of dancing between you know the various characters and interpretations i think overall we did want to definitely reference sort of Greek mythology in general and you know what it means to be a goddess.

10:20We had a lot of fun and our fitting was pretty epic.

10:23Hillary Kerr:But how far out do you start planning that press tour? Because you know it's coming. You know who she's gonna be standing next to. Yeah we have an idea of a release date and then of course once it's confirmed we have a green light and typically press and promotion happens a month before a film comes out. That's like a general rule of thumb, but I am clocking looks far before that. I mean, I knew that she shot this like a year ago. So I have had ideas for quite some time. And the thing that was interesting actually about this particular tour is, you know, Christopher Nolan is notoriously private about, you know, his projects.

11:06And so for this particular project, there was a lot that was left for interpretation. And we have a pretty long lead time. But you can't hit go until you get the publicity schedule from the studio until you know, how many looks where the premieres how many premieres are we doing daytime TV talk shows? What is the promotional tour going to really look like? And therefore, how are we showing up and also like what other casts are going to be present? And this was a major cast. So we had a lot to consider. And also speaking of challenges, we wound up doing our fitting pretty darn close to the kickoff of the tour, which for me is like less than ideal.

11:52So we had new challenges, but it was fantastic and it went off without a hitch. I'm really proud of this tour. I think our sort of visual narrative was very strong and I think it really resonated with a lot of people. And yeah, I'm super proud.

12:07Hillary Kerr:Okay, so talk to me about the very first look for the very first press day. Silver, monochromatic, there was a flowing feather trimmed coat. How did you land on that look to kick things off? So that was actually a look that I had custom made that I had been hanging on to for quite some time. It was Sally LaPointe. And I didn't know where it was going to go and where it might fit into this tour. But I knew it was special. I knew. And honestly, at this point, like, oftentimes I see something and I'm like, yep, that's the look. I know it's going to work out. Don't know where it's going, but like, just have faith and give me a little bit of time and watch it land.

12:46And it's awesome when that happens, when the right look winds up in the right location for the right photographed moment. And this felt like the perfect look to kick off the tour with. I always think the first outfit that's photographed also kind of sets the tone and the narrative for the visual story that you're going to tell. And I loved everything about this. So she wore this for her first day in New York Press. And a fun fact, actually, Lupita really inspired this look because she reminded me that Helen of Troy was born from Zeus and a swan. And so the feathers were kind of reminiscent of that swan element.

13:31I thought it was just a beautiful way to sort of set the tone.

13:34Hillary Kerr:And I also love that it's a female New York-based designer to start the tour as well. Totally. Totally. We love celebrating female designers. And we also love celebrating the designers whose cities we are in on a promotional tour. And so you will see that throughout the Odyssey red carpet looks that we chose. Okay, so she also had a few other monochromatic looks for early press too. Like there was that light sage, I think Frankie shop set. Oh yeah, isn't that an easy, cool look? With the great sandal, just a little subtle. Yes, yes. Just a little subtle nod. We don't have to be too on the nose.

14:10Hillary Kerr:When you look at the color palette, obviously she can wear so many different colors. But why do you think monochrome looks so phenomenal on her? You know, it's funny, I didn't even realize that we were really doing that specifically. But color is striking on her. And I think color commands attention in a pretty subtle way, actually, I think as it relates to silhouette and details and sort of more thoughtful touches that really actually was something that we established in our mood boarding, we kind of denoted, like, I'd say four different moods within like a general overarching theme. So one might have been more pleating, one might have been more feathers, one might have been more sculptural detail.

14:59And you see, if you look at the press tour as a whole, if you were to line up all of the looks, there is this sort of consistent story where we touch on all of those different silhouettes and layered nuances to each look. And I think, again, with Lupita where color is just so impactful. We also had a pretty consistent palette. Everything was of a certain saturation, slightly more muted. We really found that balance. And what I think was also so interesting was in the case of this tour, I didn't actually liaise closely with Leslie or Erin or Law, but I think we all kind of had the same energy in terms of color palette.

15:49It's really interesting. If you were to look at all of the cast lined up, like they looked phenomenal next to one another. And I wish I could say we planned it, but we didn't. I think everyone looked really incredible and cohesive.

16:03Hillary Kerr:It was unbelievable. I think about like that shot in front of the Eiffel Tower. Totally. They must have collaborated or they must have been pinging each other. But I love that you guys are just all in sync. OK, so let's talk about the London premiere because I am obsessed with this look. I feel like it is so Helen. It's ethereal. It's jaw dropping. It's sexy, but in a like maybe I should say sensual. Like it's very elevated and thoughtfully done. how did you land on this look? This was one of those looks where I was like, it looks like nothing on the hanger. No hanger reveal. But I saw it on the runway and just do me a favor and slip it on.

16:53And it is so simple and minimal from the front. But the minute you turn to the side there's a surprise and I think there's something so powerful in a look that doesn't require a whole lot you know it really was about Lupita yeah in that gown and that's all that it needed she brought that look to life it was quite dramatic the sort of crystal mesh just hugged the body perfectly. That giant armhole gave you this phenomenal peak of a silhouette. And it did all the work it needed to. And I have been joking, who needs a lot of clothing when you are the most beautiful woman in the world? You know, I saw something recently, her publicist sent this to me.

17:52She was like, someone on Instagram referred to it as the bodicey. And I was dying. I thought that was hilarious. And I wish that I had come up with that myself. But I mean, the look was phenomenal. And I think it was a surprise. A lot of people were probably expecting something different. I think it was the most impactful look to kick off the premiere.

18:14Hillary Kerr:It was outrageous. Like, it was so stunning and modern and also timeless. It is incredibly alluring, but also, like, so devastatingly chic. Yeah. Did that require a significant amount of tailoring to, like, get every placement exactly right? Or was it just like it was made for her? Sometimes the dress just works. Does the magic. And this was one of those moments where we were like, there isn't a whole lot to do. We had to do a hem. That was about it. Easy. Choose a shoe, hem the dress, call it a day. Wow. Didn't even require steaming. I mean, this was the easiest dress in so many ways. I'm just really happy it landed.

18:59Hillary Kerr:Well, we also need to speak about the Chanel of it all. Lupita obviously works with Chanel quite a lot. We saw some amazing Chanel moments, like the two black and white looks that she wore in London. What is it like dressing her in current Chanel? I mean, talk about being honored. I am thrilled that we have the great honor of working with a house like Chanel. It is extraordinary and it's a really collaborative process. We are able to not only work on custom design, but we also are able to work with all of the existing collections. and what's unique is that there have only been a couple of collections under matthew's creative direction and so to be the one of the first to wear his clothes on the red carpet i mean my goodness like when everyone is clamoring i mean how exciting we get to really you know think ahead of time too when the collections walk down the runway i'm marking my favorites and i am keeping those looks in mind for what is coming up.

20:05And so yeah, she had that fantastic cruise look that she wore to the London photo call one of my favorites, it was a black and white skirt and top that had like this handkerchief scarf around the waist. And it was such a striking look. And actually, like one of my favorites, we that was another one where we put it on and we just knew, Wow. We were like, yep, that's a no-brainer. And I feel like that was also such a beautiful, striking look for a daytime photo call and to kick things off in London. We actually did a number of Chanel looks. We did a black and white Presté look that was a really cute vest worn open with a skirt.

20:45We had like a really fantastic brown trouser look in Paris. And then of course we had the Paris premiere, which was - I mean.

20:54Hillary Kerr:I mean. An electric coral, sort of an open work Chanel resort 27 dress with elaborate lace embroidery. To say that this is like a stunning piece of craftsmanship doesn't really do it justice. Why did you want this look specifically? You know, I felt like this dress really needed to be placed in the perfect city. and being that Chanel is a French house. So Lupita had attended the fashion show for Couture the day before. Right. And it just felt like a very natural thing to have her continue her Chanel of it all in the city, you know, in Paris. And also just thinking about the scale of the event, the importance of that premiere and what this dress looked like.

21:49Also like what the carpet backdrop was going to be. Did you know that in advance? We do. We ask all the questions. All of this is considered because you want to think about how something's going to photograph. Right. And how it's going to be disseminated and through media and so forth. And knowing that it was a darker backdrop, we knew that the red was going to pop. And it just felt like such a natural homage to being in Paris and to being a face of Chanel. But this dress was so special. It was the most striking color of red. and red looks phenomenal on Lupita. And to your point, the craftsmanship and the detail, like this like lattice work, it was like crocheted and it looked like coral and it was beaded on top of that.

22:28So it picked up like this beautiful sparkle. It was totally sheer. So, you know, she wore a bodysuit underneath and it just had this like incredible illusion. Again, I feel like we were playing with this idea of illusion throughout the overall tour. It was a really special look and I'm so glad that it had the moment that it did.

22:50Hillary Kerr:And then continuing in this red theme, we have the beautiful Armani Privé gown for a photo call in Paris. Talk to me a little bit about choosing this look specifically and how it continued to tie into your overall vision for the press tour. So this was a beautiful Armani Privé gown that I saw a picture of and again, had to have it. We didn't really know where it was gonna belong. We knew that there was a Paris photo call, but we didn't know the context of it at the time when we fit it and tried it on. But we knew it was special. And we we knew that we wanted a home for it. And so we did all the alterations, we worked with the Armani team to perfect the fit, we waited until we had more information.

23:31And when we learned that the photo call was going to be in front of the Eiffel Tower at sunset, and you could kind of just like picture the flickering lights and the sparkle on her gown, we knew that that was the right moment and the perfect occasion for that gown to be worn. And so again, thinking about always going back to where does the dress belong? What is the right environment? Where is it going to land and resonate with people or have the most visual impact? This again, it made perfect sense. And oh my goodness, those photos, holy moly, they were spectacular. And it's so exciting and rewarding when you see it all come together.

24:13Hillary Kerr:Very much so. I can only imagine. And then I also want to talk about Lupita's New York premiere look. Down to the bag. Walk me through how did you think through New York and what was the strategy behind it? We tried this gown on and it was spectacular. I worked with Nicholas Oakwell many years ago when he first launched his couture house and I'm so happy that he's back in action making the most exquisite work. It was interesting the inspiration of the dress was actually written in the lookbook and it too tied back to mythology and story that just felt like it was kind of meant to be. But you never know until you get something into the studio and until you try it on and you see how it fits.

25:00And so it was funny at the time while we were waiting to hear what the setting was going to be for the Paris photo call, we were considering maybe wearing this in Paris and maybe doing Armani in New York. And, you know, it's always sort of like a chess game or like a puzzle, like what look belongs where? And to the point I made before, where is it going to have the most impact and where does it make sense and where is it going to really land? And fashion Tetris. Yeah, truly. I mean, you said it Tetris that is it that is the perfect description but once we knew that the Armani really kind of belonged in front of the Eiffel Tower the only place that made sense was the New York premiere and we agreed like pretty quickly that that was the right place now this gown the construction of this gown was unlike something I've seen in quite some time the craftsmanship was undeniable.

26:02The corseting, the padded hips, gold lace, like every single detail on this gown was so considered and so thoughtful. It was spectacular. We paired it with a pretty phenomenal piece of jewelry, this insane Savi Asachi pearl and pokey diamond necklace. I think it was like over 11 carats of diamonds. It's just like bananas insane. Sometimes it's just about having that like very intentional piece of jewelry that doesn't compete with a look, but like really adds impact and like visual interest. We put that necklace on and we were like, all right, game over. Like our job is done here. We know what the look is.