Dan Levy

But in the process of brand identity preservation, it's almost in a way removing the ability to style.

So I think

you have to find a stylist who is willing to play with vintage and potentially ruffle up a look that a designer wants in completion and sort of beg for forgiveness afterwards.

Because otherwise you just end up wearing exactly what has already been shown, which at times can be great.

There are looks on a runway that I'll see and say, like, absolutely.

Give me the whole thing, top to tail.

But I think I was having this conversation with my friend, Michael Ryder, who's now.

Oh, yeah.

Yeah, designing at Celine.

And I think part of what I've known him for 20 plus years, and he's the greatest human being ever.

greatest and he loves, loves clothes, loves a shop, loves to experiment.

And I think what we were talking about was his desire to make clothes that can be styled as opposed to looks that need to be honored in order for his vision to be complete.

And it was really interesting to hear him talk about that because I would love to return to kind of the way that celebrities dressed in the 90s when stylists were brought on for red carpet looks.

But the people themselves kind of had to fend for themselves most of the time.

I think that's why we're looking back at all of these amazing looks from celebrities in the nineties that were kind of paparazzi in all of their own clothes.

And they look incredible.

You can tell now when someone has been styled

in a paparazzi shot, you know?

And it's finding, I find that in working with a stylist, you need that sensibility overlap.

You need to trust that the taste is there between the two of you, but that they are also going to push you in a direction that excites you and allows you to kind of experiment in ways that you normally wouldn't.