Hang tight while we fetch the video data and transcripts. This only takes a moment.
Connecting to YouTube player…
Fetching transcript data…
We’ll display the transcript, summary, and all view options as soon as everything loads.
Next steps
Loading transcript tools…
Law Roach Explained: Why He Came Back From Retirement for the Met Gala | PLEASE EXPLAIN | Complex | YouTubeToText
YouTube Transcript: Law Roach Explained: Why He Came Back From Retirement for the Met Gala | PLEASE EXPLAIN
Skip watching entire videos - get the full transcript, search for keywords, and copy with one click.
Share:
Video Transcript
Video Summary
Summary
Core Theme
Celebrity stylist Law Roach discusses his career evolution, his return from retirement, and his impact on the fashion industry, emphasizing storytelling, cultural significance, and advocating for greater ownership and recognition for stylists.
If I don't like your manager, I'm not
doing it. You know what I mean? Like, if
I don't like your publicist, I'm not
doing it, you know? I'm I'm doing it
really on my terms, right? Cuz I'm just
so happy, you know, just so happy. And I
don't think I'm willing to sacrifice
that for anybody anymore. [Music]
[Music] [Laughter]
[Laughter]
Do y'all remember when Law Roach retired
in 2023? It was a huge news story that
had everyone talking and it solidified a
few things. For one, law was a bonafide
star whether people liked it or not. And
secondly, being a stylist may look
glamorous, but it's a service job that
requires maintaining a relationship with
your client, dealing with their teams,
sacrificing your personal life to be on
call for their busy schedules, and
constantly negotiating with luxury
brands or gatekeepers who may or may not
understand your value. Traditionally,
stylists have kept quiet about the
draining and demoralizing parts of the
job, but law has been transparent and
vocal about his value. It's because he
didn't follow the traditional stylist
trajectory, which usually entailed
working at a magazine or assisting other
stylists in LA and New York. He had no
formal training, just his taste, a
psychology degree, and his experience
running a vintage store in Chicago with
a friend. But he broke through a very
cut-throat space that wasn't really made
for him. He's taken styling to a new
level, leaning into storytelling, method
dressing, and using archival or vintage
pieces to showcase black history. His
work has really benefited the entire
industry, which we will talk about
later. But this type of dedication came
at a price, which at one point law was
not willing to pay. But now he's back
just in time for the Met Gala. Today we
are going to talk about why he decided
to come back from retirement, his work
on the Vogue Mgala issue, and if he's
thinking about Zenaia's upcoming Ronnie
Spectre role or her wedding dress. Then
we will get into the current state of
celebrity styling as a business and a
practice and his desire for more
ownership and equity and how he plans on
getting it. My name is Arya Hughes. I am
the editor-in chief of Complex and I am
Hi, Law. Hi. Welcome. Thank you. Thank
you for being here. Thank you for having
me. So, now let's talk about this
beautiful Met shoot that just came out
with Vogue. You must be so proud. I am
extremely proud. Like it just even when
I look at it, I'm like, this is
historic. You know, people are going to
look back on this and just have an
understanding of like the power of black
style and black dandism. When were you
asked to do this? you know, like how did
it happen? I got a call from uh Anna and
she's like, I I may have this project
that I want you to work on and I flew to
New York to meet with her and she told
me all about it and then she told me um
that Tyler Tyler Mitchell was shooting
it and Tyler and I had just started to
kind of like build this friendship. So,
we had been talking. I had bought some
of his artwork um some of his
photography. Um, so it was like it was
all these things kind of happened
started to happen at at the same time
and you know I didn't know she was like
it's this project. She was like but it's
going to be a long project. It's a big
project. So I I flew to New York and we
had a whole meeting about it and they
kind of told me what it was about and
when she said it was you know in
conjunction to the Met and it would be
the May issue. I was just like you know
I was you know I'm just really grateful
and humbled and um I don't know. I just
keep I just the word gratitude is just
going to come up a lot when I talk about
this because it is historic and for me
it felt like we haven't seen anything
like this since the all black Italian
Vogue issue. You know that was so
collectible we all wanted it like people
still are searching for and buying that
issue. I hope that we as a community
actually go out and physically buy it.
Yes. So I I think that's really
important that we don't just post it and
talk about it online, but we actually go
out to the news stands and buy it
because that issue, although it was
preocial media, they had to reprint that
issue three times. And so that just
showed the world the power of having
black faces in print, right? And so I
really am begging everybody to go out
and actually buy it and not just share
it online. But I you know and and then
Tyler and I started to you know pull us
together inspiration and he he was just
such a dream to work with.
Um I I feel like Tyler is Tyler has no
ego which is beautiful cuz a lot of
times photographers want things the way
they see it. And if he had an idea and I
would and I had an idea he would ask me
to explain it to him and and make him
understand why I felt that way. And he
let me do that so so much during this
portfolio. And and then he also would
come back and say, "You were right about
that." And you know, and and for me that
just meant the world for me because I
kind of like I don't work for, you know,
Vogue. Well, I do, I guess, but not not
full-time, right? I'm a contributing
editor, so it's like that's not my 9
to5. So everything I'm used to doing,
I'm used to doing independently. So the
less I feel like I have perimeters.
Yeah, the the more creative I get to be
and he just kind of like let me fly. And
then it was like our first time working
together and it felt like like we were
brothers. Like we had kinship out. It
was just amazing. Like every day was
amazing. Like all the talent was
amazing. Like there was one time it was
like a lot of the girls was there. I was
there. Jonell, um Tiana, Yara
Adaw there and they were all getting
their hair done. It was like we back in
the beauty shop and everybody was just
like the music was playing, everybody's
laughing and talking and hugging each
other. It was literally it was so
emotional to be on that set and it was
like there was no attitudes, you know,
we were running over and people were
like telling their publicist like, "No,
no, it's okay." So, it was like
everybody knew that we were there for
something that felt bigger than us, you
know, as individuals. How many days did
you shoot it over? We shot over four days.
days.
So, we packed it in like the first the
first day we shot 22 people. Oh my gosh.
Yeah. There's one photo in particular I
want to talk about. All of them are
beautiful, but there's one photo that it
just felt I love that this is in Vogue
and it's the Tiana Taylor, Janelle
Monae, and Ryan. Yes. And Ryan. So, this
one is actually in GQ because there's a
crossover. Yes, you're right. This is
one of my favorite pictures. Oh my gosh.
Like, this is one of my favorite
pictures. And you know, we were talking
about, you know, the conversation was
about dandianism and and and black style
and tailoring and, you know, there was
there was a lot of lesbian performers
back in the day. One being Glattis
Bentley and I was inspired by Glattis
Bentley. You know, she was around in the
Harlem Renaissance and she performed in
men's wear. I don't know. That was the
inspiration from this. And I just I love
this picture. And like Tiana's body just
looks like that. Oh my gosh. Yeah. I
mean like that's it's just like you look
at them there's just like you just
immediate there's just a knowing and you
don't see pictures like this in Vogue
and GQ regularly. So I love seeing that.
It's one of my favorite ones. It was all
our favorite too after we got that shot
and then them on set together was like I
wish that the the the video piece that
they did was more in depth and showed a
little bit more about the atmosphere.
atmosphere you get more of the emotion
but yeah it's like you know in that way
Oswaldo saying I want to talk about that
with well for one what was the overall
inspiration for the portfolio would you
say like what were you pulling from what
were you thinking about I just was
pulling from like my own you know cuz
you talked about
Dom and you see that here a little bit
too yeah I would talk about a pimp you
know in Vogue but you know that's just
who I am you know I mean that's part of
my personality like I brought so much of
who I am and what I've learned learned
and you know I have five uncles and the
way they dress and my grandfather and
like going to church and you know seeing
pimps on the street and seeing the drug
dealers and like you know growing up the
way I grew up like those were your
heroes right those were the people you
aspired to be not that you necessarily
want to do what they do but you want to
have that lifestyle and I think that's
what you know being a dandy and and and
really um being in fashion means for
certain black people like it's a form of
survival that nobody talked about. You
know what I mean? It's almost like
Rihanna when she said, "You could beat
me, but you can't beat my outfit."
Right? She could beat me, but she cannot
beat my outfit.
So, it's like all those things. It's you
grow up a certain type of way. Like your
clothes, you know, can can keep you out
of [ __ ] you know what I mean? It's like
or get you into the right Exactly. So
verymin but I was fresh you know I was
fly so they had to be like oh okay you
know he he a little soft but he could
dress you know he fly you know and so
it's it was it was a form of survival
and I think the what the roots of black
people adopting European dress was out
of you know away survival and and also
recognition and showing people that I am
just as good as too. And I'm going to
show you that through what I what I'm
wearing for sure. And I want to go to
the Rocky Shoot. I love that he was
wearing Oswald Bang on the cover. I love
the mix of brands because I know
sometimes that can be a struggle when
working on editorials. I saw you work
with Rocky, you work with Tracy Ellis
Ross, you work with Mary J. Blah. Like
you work with people who have very
strong style identities, you know, and
they're like people know them for that
identity. I'm just curious what your
approach is when working with folks like
that. I just understand them. You know,
I I did Tracy for a couple of
editorials. I did Mary for a lot of, you
know, a lot of things and this was my
first time working with Rocky. It's just
you just for me, my process, like you
said, is just I research and I study and
it's also these people are like pop
culture icons, right? So, if you're in
the culture, you understand a little bit
about them. That's just what it is,
right? I'm not trying to change anybody,
you know. I'm just trying to elevate and
and collaborate and just do a good job.
Yeah. I love, like I said before, I love
that beautiful green suit. This was Let
me tell y'all something about ASA Rocky.
Tell us. So, that man is special. Like,
so I was not expecting to get the ASAP
that I got. You know, I was expecting
him to come and have a bunch of people
with him and, you know, and to have his
stylist. Matthew Henson, who who I love.
that's my homeboy, you know what I mean?
Like so much respect for him. He came,
you know, made sure that that Rocky was
okay and then he left. He kind of like
let you know and that's that's really
that's a testament of how confident he
is with their relationship that he just
kind of like you know like go ahead law
do your thing. we trust you and Rocky
and it was just like me, him, my
assistant and and a person from Vogue
and we were having this fitting and we
were like having fun and he was trying
on all these clothes and it was like and
he was
so confident but also vulnerable at the
same time and like so opinionated but
also so collaborative. I'm just
like this this wasn't what I expected.
And I mean he was great. And then the
day that we
shot he came to set early. He came to
set I think it was him and like his
assistant. It wasn't a bunch of people
like people came to check on him but it
was just like he just was in it. You
know what I mean? He had so many ideas
and they were all great ideas and we me
and Tyler was like yes yes yes. And then
he also made it feel like and made us
know that it was all three of us. like
it was a combined effort. You know, he
came early, he waited around. So, I
dressed his grandmother, which which was
a was a honor for me. And he was just so
patient and then so grateful. I posted
another picture that didn't make the
cover of him with his like praying hands
with a big smile on his face, the grill
showing, and that just really the way he
was on set. And he and like literally he
made all the assistants, the interns, he
said hello to everybody. Thank you. Like
he just had a presence and I was just
like, "Okay,
Reed, now I understand." You know what I
mean? Like it was we were all just like
I mean all the v everybody was just like
he was just so special. You know, you
come across you come across those type
of people every now and again, right?
That just have something and it's just
like they just suck you into their
world. And and again, I worked with a
lot of people and I met a lot of special
people, but it was just like you I just
didn't expect that. He was like such a
gentleman like to everybody, you know,
like it's it's his shoe. We all like
while he's holding the door for other
people. It was just like it's it's
almost how black people say like, "Oh,
no, he was raised right." You know what
I'm saying? He was raised right. You
know what I mean? It was just I just
walked away from that like like a huge
ASAP Rocky fan and just of just him as a
person and you know like
you know didn't really rooting for him
you know it's just like I just we were
no one was expecting that and we were
all like
damn you know what I mean and I was I
was like I can't wait to say I can't
wait to see Rihanna so I could be like
okay now I see it now now I understand
you know what I cuz it's past him being
an attractive man or a stylish man. It's
like it's something that's on the inside
that is really special. Yeah. And I was
also grateful that he that he allowed me
to be a part of the shoot because he
could have, you know, he could have
chose any stylist he wanted. I'm sure
they would have, you know, let him have
whoever he wanted. But the fact that he
gave me that opportunity, like I feel
like so grateful and like indebted in a
way, you know, because for me, a lot of
people look at my work and they like,
"Oh, well, he only got a V cover because
it was in there, you know, and I'm like,
now I got this cover. What you got to
say now?" You know what I mean? Like,
so, you know, I think people try to
pigeon hole me some of my success to
her, but a lot of my success is because
of her. But some of my success is also
just because I'm really good at what I
do. Yeah. And it's what you brought to
her. Obviously, she's a beautiful model
and muse and she has ideas, but Yeah.
Yeah. Yeah. No, I I couldn't I would
could not exist at the level that I am.
Yes. And be as successful if it wasn't
for my partnership with her. For sure.
Yeah. So, let's talk about the Met.
Yeah. So, you've done that beautiful
Vogue portfolio. This will be coming out
after the Met. So, sadly, I can't get
your real-time reactions to what folks
are wearing, but you're are you styling
Zenaia? Yes. Are you able to say how
many other people are you styling? Are
you able to say who, what, when, where,
why? I don't know. So, I'm doing Jeremy
Pope, which is another um new client.
We've been working on something else um
for Vogue, another smaller project for
Vogue u with him, and I'm excited about
that. I'm really excited about his look.
Well, what's your research process for
this? like how long you've been
researching cuz this is like to me I'm
like this is you shine all the time but
like this is your bag you know like yeah
and that's why I wanted to that's why I
announced that I was coming back and I
was unretiring because I'm like I felt
like I should have a strong presence on
this carpet and that piece I said I've
been I've been researching and and
preparing myself for this my whole life.
So I really have been working towards
this Matt Galla my whole entire life. So
So yeah, it was just so I am doing I
think I'm doing six people. Mhm.
um or I would have done six people
hopefully when this airs if everything
went right. But yeah, Jeremy Pope, I
think his is is going to be really
exciting. But he he also has no fear
when it comes to fashion. So when you
have someone on like that, you can push
things and and play around a little bit
more. And so his um his look is is
rooted in in the beginning of what it
starts the start of tailoring before it
even happens. So I I'll say that about
his little Okay. I'm excited. Do they
give y'all any type of Well, you don't
need it, but there's other stylists who
might not be as wellversed in what black
dandism is. Do they give a research
packet or something? I could have sworn
they did. Well, I don't know because
I've been working on the I have worked
on the portfolio and then I am right.
You know, I am who I am. Yes. Yeah.
Okay. I think we're all curious to see
how certain stylists interpret this
theme. Yeah. We're waiting to see who
going to [ __ ] it up. Let's just be
honest. Yes. Yes. And I feel like we
going to see who going to [ __ ] it up.
Yes. Going to do it wrong. Yeah. [Music]
[Music]
Okay. So, now we're going to talk about
you being a fashion historian. Yes.
Obviously, at the beginning when you
were styling folks, you were putting
people in vintage out of necessity. And
now it's become such a layer to your
storytelling. Yeah. And now, and this is
just what I'm saying. I'm not saying
you're saying it now. I'm saying a lot
of stylists put these girls in archive
dresses, but it just feels like there's
no con. It's just like there's no
context around it. Yeah. So tell me like
what your thought is when you have a
dress and like pairing the archive dress
with the right girl or guy for the right
moment. I'm just a storyteller, you
know, at the end at the at the you know
base of it all. That's all I think I am
and I think that's what makes me good is
that I think in ways of storytelling.
The the Met portfolio was all every
picture had its own story, right? Yeah.
You said it was vignettes. Yeah. It was
like these tableauos I created of of
these people and you know I even did the
seating chart. We called it the seating
chart. So I did you know the composits
like the research was crazy like we had
cutouts of people everybody's faces and
different clothes. So it was like almost
doing like paper dials that we would
suggest this sitting of these three
people and you know and it was based on
physicality but also like you know I
mean the easy one was the athletes right
cuz they it's the same story right but
you know the musicians and actors and
and like the spikely and the dapper Dan
and the beautiful Lana Turner and and
the the model that picture in my mind
that was legacy right that was like
these were like the god the grandparents
of it all and at the sitting at the top
of the family tree right and everybody
else trinkling trickling down from that
so it was um so I have it's the only way
I can do it if I create a a story and so
my um when we started Craig director for
my styling team he had just all these
things all these pictures and I was like
I can't work like that I was like I need
you to cut out every outfit cut out
every picture have these big boards
And we just literally for hours did
stick pants. Wow. And like put the looks
and and then in my mind I was naming
them all like you know this is these are
the icons you know these are the young
people and this was this and and yeah
it's just it's a it's a tedious process
but it's the only way my mind can think.
So I do that for every single red
carpet. Wow. I do it for everything. It
has it just it's it's no fun for me just
to put clothes on people. The difference
that people see in in the work. I want
to talk to you about your vintage
because I know you're close with myel
and I are friendly. So he told me I need
to ask about your archive. Yes. And he
talked about how Brie Runway owns the D
squared skate Moss booth that she got.
Okay. So do you you make your archive
available to others? No. No. I will I
will sell stuff to people if I like
them. Okay. Well, if I just think they
should have it, right? You know what I
mean? I think it's something I had that
I had like I sold Leverne Cox a Terry
Muglare couture outfit that she hasn't
worn yet but I just called it one day I
was like I have this but I think you
should have it. So, you know, it's me
also wanting to tell a story with
somebody that's not my client. You know,
it's just like if I like if I like what
you're doing or I like your style and I
think I have something that that I want
to see you in, then I'll sell it. Yeah.
What a lucky call to get. Yeah. They
don't have to none of the sourcing. And
you're just like, "Hi, I have a new
glare dress." Yeah. I just kind of like
I got this look and I just think it's I
think it needs to live. It needs to be
on somebody. Mhm. Yeah. Do you think
dresses and clothes were made better in
the past than now? I do. Yeah. Yeah.
I've kind of gathered that, too. And I
don't have as much one-on-one hand
experience with the pieces, but even
from just what I see on the red carpet.
I do think some things are made better
because it was um pre-technology, right?
It was a lot of the technology wasn't
around. So, it was, you know, the
artisans and the hand sewing and hand
beading and um I still think there is a
a lot of houses that do things really
really well, but I do think
some of the better things were done in
the past. Yes. Okay. So, we heard that
Zenaia is going to be playing Ronnie
Spectre. Yes. Have you already thought
about that? Of course. Oh my god, I'm
excited for that. Like, what happens
when that happens? So you hear she's
like, I've been cast in this movie.
What's the immediate thing? You just
start. Well, Ronnie Ronnie, she met
Ronnie before she passed away. So Ronnie
asked her to play her. So they built a
relationship before she passed away. Um
and yeah, you know, I'm waiting for
that. But I also um I don't do any of
her films. I did Malcolm and Marie. That
was the only thing. I'm talking about
the red carpet runup. No, I know. But I
want to do Well, I was going to tell you
I want to do the movie. Oh, okay. Okay.
that would be something that I would
want to be. So I I'm trying to figure
out how to um cuz Barry Jenkins is
directing it. Oh, amazing. So I'm trying
to figure out how to audition myself to
be happy for you. No, I don't want them
to just be happy. I want to work for it.
Yes. Yeah. No, I want I don't want, you
know. But you've worked for it. Yeah. I
don't want her to be like, oh, I really
want to like meet him and and put the
deck together and do the character
development and do all that and and
really kind of like audition to do it.
That would be amazing. Have you you have
never done any You've never costume,
directed, or designed any of her films,
correct? No. Just Malcolm
Memory. Yeah. Yes. You haven't done any
films outside of her, right? No, I
haven't done any films. So, I have a No.
Okay. That would be so exciting. Yeah. I
saw that you were with Andre 3000 during
Paris Fashion Week. You were just kind
of going to shows with him or y'all
working on something? Yeah, we were
working on something. Interesting. I
consulted for Burberry's Met Gala table.
Okay. Daniel Lee and Burberry really
wanted to get it right and they wanted
to have someone who understood the
nuances and the cultural things about
being black and the way we wear clothes
and why we make certain decisions of how
we dress. And so they hired me to do
that. And Andre is one of the people
that I was able to kind of secure. Oo, I
love that. He needs to be there. Oh, no,
he is. I mean, he will be there by the
time you watch it, but he is I mean,
he's on the first page of the book of
Monica's book. They talk about Andre
2000. It was like we were in London for
a meeting with Burberry and then he was
like, "Oh, I haven't been to a fashion
show in so long." And it was fashion
week. So, I'm like, "You want to go?"
And then we went to one and then I
called him. like, "Oh, well, you know,
it's a couple other shows. You know, you
want to go?" So, we just end up hanging
out doing fashion week. And that was like,
like,
you know, crazy for me. I worked with
him before, though. I did a Super Bowl
commercial with him and Zena. Mhm. He's
amazing. Like, he he's he's absolutely
amazing. And like, you know, it's kind
of like one of those kind of like fan
moments. Like, I had a fan. We were on
our way to McQueen and like he fell
asleep in the car ride. I was just like,
"Yo, that's Andre 3000." You know what I
mean? Yeah. But no, he's so humble. So
like just walk down the street and like
people are like freaking out. He's just
like so like humble and it's like
soothing humble, you know? I'm like,
"You okay?" I'm like, you know, I'm
having like us going in rooms and like
wait so he won't get bombarded. He's
like, "No, no, I'm chill. I'm good." And
he was taking pictures with people and
like there's a beautiful picture. We
were leaving the Sakai show and it was
raining and we walking down the street
and he's like holding an umbrella and
it's like this beautiful profile shot.
I'm like like I'm framing that. You know
what I mean? It's like I'm a big
believer in manifesting. And it's like
me growing up listening to his music,
watching him, you know, him doing things
I had never saw black men do, especially
my generation, right? for me to like
have his phone number and like sending
him YouTube links to things to watch and
he communicated and us talking about his
look for the Met and all he's saying is
like going to shows and like having um
having conversations about the clothes
we saw and you know took him backstage
and introduced him to Shawn McGur from
McQueen and and we was talking about the
way things are and it's just like listen
he's a true artist like he wants to talk
about the construction of the clothes he
wants to see it and touch I took him to
meet Daniel Roseberry from Scaparelli
and we looked at those clothes and you
know he was turning things inside out
and it's just like for me as a as an
artist and creative to watch someone I
look up to do the same things I do and
like the similarities is just like mind-blowing.
mind-blowing.
But I have manifested my way into this
to this world and this life that I had
no idea was possible. Right. I know. And
it's very empowering to watch and we're
going to talk about that in a minute.
But I want to talk about that cuz you
were just naming a bunch of creative
directors. Yeah. And I know that in the
past um you've said you were on a panel
with Jason Balden and you've said if
it's a no now it's a no forever. And I
know you've name checked certain brands.
I mean I can say them but certain brands
that but now their creative directors
are changed. Yeah. So how does that like
Chanel, Dior? That was something I said
a long time ago. Okay. Right. and
creative directors have changed and the
industry has changed and my relationship
with with luxury has changed. Zena's
relationship with Lux luxury has
changed. But we do we do if you look at
the things that she wear you can see
there is some loyalty to certain brands
and to certain people like we will go
wherever certain people go in this you
know this merrygoround of fashion. Um
but yeah you know I don't have a problem
with just to set the record straight I'm
not beefing with no
brands you know anymore. There's no
beef. There's no beef. Yeah. [Music]
[Music]
Okay. So, let's talk about what it
typically is meant to be a black
celebrity stylist. So, usually black
stylists were relegated to styling
exclusively black clients. This in many
ways impacted their progression, i.e.
the way media covered or didn't cover
them, and the way the fashion industry
treated them. oftentimes luxury brands
were less likely to lend clothes to
black stylists with black clients. This
is still an issue. Law said that early
on in his career he was told that
primarily styling black women would
affect his ability to grow. And while he
was influenced by stylists like June
Ambrose and Misa Hilton, he aspired to
be treated like Rachel Zo, who at her
peak was styling clients including
Nicole Richie, Kate Hudson, and Jennifer
Lawrence. She was also sitting front row
at fashion shows and meeting with
designers backstage, which is all
documented on her classic Bravo reality
TV show, The Rachel Zo Project. Law has
achieved that goal, and the industry has
recognized him in ways they didn't
always recognize his predecessors. He
won the very first ever stylist award in
2022 at the CFDA Fashion Awards. And
he's also become the first black stylist
to appear on the cover of the Hollywood
Reporter's Most Powerful Stylist issue
in 2017. This was for his work with
Zenaia and Selen Dion. And Law isn't
just a stylist, he's talent, which has
helped him secure judging gigs on TV
series, most recently Project Runway,
and very lucrative brand deals. He has
also had a very loyal client, Zenaia,
who ensures that when she wins, he does
too, which we will detail later on. In
the next chapters, we will get into the
current state of celebrity styling, what
he'd like to see change when it comes to
stylist compensation, and in our fashion
sense segment, we will break down how
stylists like law help their celebrity
dollars. You know, I've been thinking a
lot about Andre Leon Thally with the
Black Dandy theme. And obviously y'all
have very different careers, but I do
think in many ways you have the career
that he maybe never was able to have for
various reasons, timing,
gatekeepers, etc. And I know you talked
a lot about gatekeepers around the time
of your retirement. And I think that's
just kind of what pushed you to the like
I'm done. Yeah. Are you still dealing
with gatekeepers? I'm sure I will. I
think it's inevitable for us to have to
deal with that. Um, but then again, I'm
coming I'm coming back into this
industry with if doing things that I
feel like doing, you know what I mean?
Like I don't have anything to prove, you
know? I I've done well financially. Um,
so I'm not really chasing a check, you
know what I mean? It's like I have my TV
career that's happening. You know, I
have some brand deals of my own, you
know what I mean? So, it's like I'm
doing things that that make me feel
happy. and working with people that make
me feel happy, that make me feel
inspired. And if if I if there's a
roadblock in between that, then I could
just I'll turn around just like I don't
have to do it, you know? I those years
of me not I won't say playing nice. Um
but just I just don't have to deal with
the [ __ ] Like I'm in a whole
different space. If I don't want to do
it, if I don't like you, I'm not doing
it. If I don't like your manager, I'm
not doing it. You know what I mean? Like
if I don't like your publicist, I'm not
doing it. You know, if I don't like your
Asian, I ain't doing it. You know, it's
just like, you know, I'm I'm doing it
really on my terms, right? cuz I'm just
so happy, you know, just so happy. And I
don't think I'm willing to sacrifice
that for anybody anymore. I did that
already. And you know, I walked away. I
got my mind right. Mhm. Now I can come
back and do it purely out of love and
joy and respect for the craft and you
know and a lot of my friends have moved
into these creative director positions
and you know and and I'm excited to work
with them and and to play in clothes and
you know another thing that people
always say and I I kind of you're
intimidating and I know that you know on
a lot of the you just talked about your
TV career and a lot of your judge
judging spots you played the villain in
a way and I feel like you've leaned into
it. Absolutely. Yeah. This is legendary.
It's about group performance. So, I have
to go to the House of Revlon. I want to
disagree with Compton Barbie at the end.
Which calls for very entertaining TV,
but then I think some people don't get
that this is a role that I'm playing for
this reality TV show. But I know that
you were saying before you kind of
created this guard kind of for people to
leave you alone. Yeah. Um, and it was
also like sometimes you felt invisible,
so you just were like, "Okay, I'mma be a
bitch." Do you still feel like that?
Like how do you feel when people
perceive you as like intimidating or
difficult or a diva? Yeah. I just was
having this conversation because
somebody who works for me asked me, um,
did I know how people perceived me? And
I was
like, "No, but clearly you do. So, do
you want to tell
me how do you perceive me?" you know,
it's just like
I'm like you can't really tell me
anything or or have me do anything or do
things the way you think are better. And
it's like and if that makes me
difficult, so be it. And the persona of
being, you know, intimidating and a
[ __ ] but it's also like I'm also
walking around with 40 inches of hair
and a Croc Birkin and a Chanel jacket
and, you know, some people are just
intimidated by that. You know what I
mean? So it's like that's other people's
things. But yeah, you know, someone
said, you know, I'm not a [ __ ] I just
get play I get paid to play one on TV,
right? And so, yeah, I have leaned into
that character because it suits me and
it is it does give me a chance to kind
of, you know, act a little bit to to
lean into this character, right? You
know, and it's so funny cuz people
always be like, "You so sweet. You so
nice." I'm like, "Don't ever tell
anybody that." Yes. I've heard you say
that. Yeah. like please whatever you do
you don't have to say I'm a [ __ ] but
just never tell people I'm nice you know
cuz when people think you are too nice
they do try to walk all over you so it's
a balance you know and and yeah I don't
know I do want to be left alone I do too
but sometimes I feel like people say
you're intimidating I'm like no you're
just insecure but okay but no I think I
can't be intimidated though okay okay at
least you own it so I refuse to leave no
[Music]
obviously You treat each client like a
project and there's deep research which
is what I've always respected a lot
about you and I want to start by talking
about Ryan Destiny. Okay. Who seems to
be like your newest muse and client and
I was looking at her Instagram and I was
like she looks great you know I think
she's looked great and I'm just curious
like what your process has been with
her. Why you wanted to work with her?
We're really just getting to know each
other. I've dressed her um three times
since this kind of started. I wanted to
um come back to styling full time, but I
wanted to come back and work with people
that were inspiring to me or that um
that I just see something in. And so
we've known each other socially for
years, been you know, same carpets and
stuff like that. But um you know, I met
her her mom and you know, her mom
expressed that she had you know, wants
to work for me for work with me for
years. I'm just like, "Okay, you know, I
think I'm going to come back full time
and so let's try it out. Let's see what
happens." But yeah, and I know you were
saying how you look at clients like
there's a space that this client could
fill with like a narrative in terms of
style. So, what do you are you still
figuring it out with Ryan? Like what are
you thinking is a space that she could
fill? I know it. I'm just not I'm not
going to tell you. Yeah. You'll see
you'll see an evolution, I think. Yes.
Yeah. Cuz I feel like you're starting
off conservative. She's given like rich
wife. Yeah. With the Scaparelli and the
Ralph Lauren. Yeah. I can't wait to see
how it evolves. She's beautiful. She She
looks like a brat style to me. She does.
She has like a beautiful chopper brown
doll face. And then I also I like to go
back to early work. Mhm. So, I wanted to
show the video of Zenaia on the red
carpet. Was this the first time you saw
her? This was the very first look ever
done. And I was watching it and I was
just like, even then she knew how to
play a character on the carpet. Uhhuh.
She's like, "I'm young. I'm flirty. I'm
cute." Did y'all work together on that?
And talk about her. What? Can you ID
this outfit? This was um the Alison Olivia
Olivia
skirt, I want to say, or Alexander Wayne
skirt, Alison Olivia jacket reverse or
whatever. I think this was a turning
point for her just as um as a as an
artist, as a young lady because when we
put the outfit together, because if you
if you don't look at it and you say it,
we like silver l jacket kind of like
puke green pad leather skirt, black
tights, it doesn't really sound
appealing. And I never forget when she
before she walked out the door, she was
like, "What if people don't like it?"
And I just literally like put my hand on
her shoulder. I was like, "Who gives a
fuck?" You know what I mean? And I think
that in that moment I saw something
change in her and right and so after
that it was like you know anything goes
we could be whoever we want whoever this
character is. I'm you know we're going
to go out and we're going to play it and
and then everything else kind of
happened. Yeah. Yeah. Because I think
people underestimate that yes it's a
good outfit but it's also like becoming
this character like becoming you know
what the intended representation of this
outfit is. Was that something y'all
talked about early on? I don't know if
we ever had like a real conversation
about it, but our our relationship is
big idea, small details. So I come up
with like this huge story and you know
this narrative of like this girl and
where she's going like and why is she
there and you know and all these things
and all these references and she kind of
she kind of takes that and she narrows
it down and then she becomes it. M and
it it just it's something that just
started that day but just grew and then
became stronger as we start as we work
together and let's like as she grew up
and as I grew up and as you know we
traveled more and and our taste levels
changed and all those things. So it just
kind of just really evolved into into
what you seen over the last few years.
Yeah. I think it's beautiful how y'all
been able to grow together. Yeah. Yeah.
And it does feel very kismmit like
y'all's partnership. And then I wanted
to go cuz our a because people don't
talk to you about these folks but our
audience cares about these folks. You
used to style W. Yeah. Look at him in
his floral blazer. Yeah. That was a Tom
Ford. And that's Whiz Kid. Oh yes. I did
Whiz Kid that night too. Yeah. Yeah.
Pome. Yeah. Yes. Early early early.
Yeah. I just talked to my lady the other
night. How's he doing? Oh, he's doing
well. Good. Yeah. I did I've dressed in
my career which I say my career started
in 2014. M that video of Zenaia was
2011, but I consider me working as a
stylist when I moved to LA in 2014. And
since then, I think I've dressed
um well over a hundred people. Yeah. And
across, you know, from SWV to and Haway
and Ariana to City Girls like But I'm
curious with Wall because he was like
the sneaker guy, you know, and like
that's how our audience knew him. Was it
hard to get him into this? Like, do you
remember like what were the
conversations? Yeah, it was hard cuz you
know cuz while he was in that he was a
sleep sneaker guy, but he also had a lot
of friends around him. You know what I
mean? But I'm just like, you know, take
a chance. Let's let's do something else.
He looks great. Yeah. I haven't saw this
picture in a long time.
Yeah. And then speaking of the City
Girls, I wanted to go to them because,
you know, the rap girls, you saw a few
of them, you know, Megan and you had she
had that big moment post the case and,
you know, the trial. Even like this JT
von Dutch moment, I feel like in many
ways she's playing off of this look now.
She's back. She's there now. Yeah. No, I
love I love I love both of them
actually. Um I talked to both of them.
Uh I was just with JT in Paris. This was
like the first photo shoot that they had
did when JT came home. Yeah. I actually
did that first very first cover. Oh,
with the braid. Yes. I love that. The
braid connected. Talk about styling the
rap girls cuz look I mean I hear Yeah.
It's different from styling the other
girls, is it? You know, I think rap
girls are just like rap guys. They just
are they on their own time. You know
what I mean? They're on their own time.
Um, but yeah, I don't think it's I don't
think it's really any difference in
dressing any women cuz girls are girls,
right? And women, you know, have the
it's their prerogative to change their
mind and say yes to something woman and
then say no the next. And, you know, I
have sisters, I have a mother. It's like
you grow up with that. So, it never
really bothered me. I think women have a
common thread that that all women have
some similarities and some type of ways
especially when it comes to the way they
look and the way they present
themselves. Are you critical of your own
work? Extremely extremely like I can't
let it go. Really? Can you name a
scenario? Yeah. I the first times the
day I went to the Met there was a shoe
that I wanted her to wear and I was
again humble and grateful to be there
that FTO had chose her and worked with
me on the look. But there was a shoe,
she ended up wearing a black pump and
there was another shoe that I thought
was better and it was a platform and it
was amazing and I never forget it. And
to this day I have not let it go that I
did not advocate for that shoe. I can't
let it go. I just I cannot let it go. I
know every mistake I've ever made. I
know everything that I could have fixed
had I had enough time or had I been able
to convince the client otherwise or I I
I cannot let it go. You didn't advocate
to who? To the designer. Okay. Because
he was like, "Oh, I think it should just
be the simple black plump." And I had
when it got I bought the shoe. I'm like,
"I think it's this shoe." We tried it
on. And so I just let him win. And I
have never and he's one of my best
friends right now. And I have never let
that go. And if I've had so many met
moments since then. I've never let it go
because I know to this day that that
shoe was a better shoe.
I feel you. What's a common mistake that
you see stylists making? making it about
them. No. Oh, you say Oh, you talk about
making it about them. Oh, okay. Okay.
So, you know, I have a school, School of Style,
Style,
um, and one of the things that that I
mentor and and lecture those students
about is like not trying to make the
moment about you, right? Because
everybody like all the stylists want a
laws moment. They want a viral moment,
you know? And it's just like your focus
should be just to do good work and if
the work is good, you'll have your
moment. But I think a lot of younger
styles want it to be the biggest dress
or the the brightest dress or the
biggest moment and they're doing that
for them because they want the
recognition. And for me, I I didn't come
into this industry thinking I would be I
knew I wanted to be successful. And I
knew when people talked about who was
when the conversation came up, who was
the best, I wanted to be in that
conversation, but I had no idea that it
would become what it became. But what it
became is all just the product of me
doing good work, right? Everybody I
worked with, I treated everybody the
same. No matter it was your first movie
or you won an Oscar, if your first album
or you won a Grammy, I've always I've
always gave everybody the same amount of
respect and attention. I just wanted to
do good work. And I think that's where a
lot of people make mistakes. They try to
make the moment about them having a
moment and not the client. I know a few
of you and I don't think people know
your legacy enough. Like you work with
Colin worked with you. Timothy Luke
worked with you who now sells Ice Ice
Spice. Colin now has Cardi. Sam, you
y'all had some type of involvement. Sam
worked for me for you. Yeah. Now, you
know, what do you think is the main
thing? You said one thing. Don't make it
about you, but even with like the looks
and the aesthetic, what's the main thing
that you try to impart to people who
work for you? Cuz one thing about all of
your looks, aside from the storytelling,
people look polished. Like the clothes
fit, they look, you know, like they look
rich, you know, like. And I feel like
that's a throughine of everything that
you do. What's something that you try to
impart to them? And how do you feel
looking at their work? Well, the people
that work for me. Oh, I'm super proud.
I'm super proud. And you know, and I
have real conversations with Colin and
and and Timothy. Like they'll call me
like, "Well, what did you think?" And
I'm like, "Oh, no. I really didn't like
it." But they also feel they also have
the allowance to do that about my work,
you know? So, it's like it's a family
and you know, and we're not always going
to have the same opinion. And that's
that's the way it should be, right? But
the tailoring and making sure things fit
and that aesthetic, you know, that's b
that's basic, right? Sometimes we don't
see that. Well, then they should all go
to school of style, the people who don't
so you can learn the basics, right? And
you kind of already said this from the
jump when you told who gives a [ __ ] what
you're wearing. But you've also utilized
social media. You're tapped in. It's
clear you're tapped into social and like
how do you how does it impact any of
your choices that it doesn't Okay. It
informs my choices based on research,
right? Got it. So, you know, social
media is a good place to find resources
and inspiration, but I do not I do not
think about what people are going to
say. That's not how I make choices. I
don't care about the comments. I don't
really care if you I I want people to
talk about it and I don't want people to
love everything. I want it to be a
conversation, but that conversation
doesn't affect me, you know? I read it,
you know, and I laugh at it, you know.
Did it take you time to get there? No,
[Music]
So, let's talk about now the business of
being a stylist cuz you were just
talking about your talent and you said
before that being able to be talent has
obviously made you more money like
simply put. I do want to it being a
stylist it does not it's not a lucrative
position on certain levels. Obviously,
you've gotten to a certain level, but I
was watching the old Hollywood Reporter
um panel actually lose money during
awards season. I remember years ago
talking to a huge stylist who sat there
and said, "I am in the hole. $25,000
from the last 3 months." what the
expenses, the
tailoring, shipping. Um, and then
assistance and then also just talking
about how you were saying how your you
had a retainer when you were in music
and like styling KM Michelle like C 12K
a month then it went lower. I'm just
curious, what do you want to see shift
with the way in which stylists are paid?
Because you've talked about different
things like brands maybe need to add in
a bonus if you have helped you're
bringing them millions and millions of
dollars worth of marketing. Yeah. What
what are some things that you're
thinking about that you want to shift
in? I would love to see that happen, you
know, because I think what what we did
with um Challengers and creating this
world of Tashi Duncan like when you I
like literally walked in Target and at
the front of Target was tennis court,
right? So I think that people should be
rewarded for that because there is a
there's you know budgets for marketing
and when you can make something turn
something into a global trend based on
your ideas and your work then I think
you should be compensated for that in in
a certain way right like when movies do
well actors get bonuses when they hit a
certain point they get extra bonuses so
I'm like if if you can directly tie what
I'm doing to assets being put in the
seats and tickets being bought then at
some point there should be something
right and I I mean that was kind of a
phenomenon like I don't think I have
ever done it that way but also that was
Zenaia's first role as a leading lady it
was a smaller film more independent you
know what I mean so that was a that was
kind of like market research almost
right so but Dune yeah but Dune Dune is
it its own thing right Dune is a
franchise. Dune Dune is going to be Dune
regardless. I think Dune was what I did
was really entertaining. But what I did
for challengers that was something
different and I think that should be
quantified. Right. So it's happened. The
challengers has happened. The case study
has happened. Now what what does your
agent do? Are they Do you think you have
more leverage to ask for what you just
mentioned? You know what? I don't know.
I don't know. That's a good question.
I'm Yeah, I want to ask. I'm going to
I'm going to ask. You know, let's see
what happens. You should ask. the whole
system of the way studios work is
changing and we all know that. I think
it's a lot of a lot of talk about what
Ryan Cougler and his new movie and what
that's doing to the structures of the
studio. So it all kind of falls in line
right in the same way. So maybe they
will see more value in stylists and
stylists that do do things that that are
definitely quantifiable and you see the
results. Yeah. Right. Because yeah, that
was a case study though, right? So yeah,
what I love about you and your career is
that you are able to monetize in a way
that stylists in the past have not, you
know, and like I was reading the
interview you had with Mel and I think
this is a rumor and I don't know but if
you were baked into Zenaia's fashion
deals if you are I think that's amazing.
Is that something you can say talk about
or no? I think she talked about it in a
bizarre interview. Yeah. Yeah. Okay.
interview. So, a lot of y'all think a
stylist sole job is to put celebrities
in good outfits, but it's so much bigger
than that. And the right stylist can
completely change a celebrity's career
and help them make millions of dollars.
Let me explain. They research what
clothes are available in the market that
will work for their client. And then
they request those items from the
designer brands. Those designer brands
then decide whether or not they want to
loan the stylist pieces for their client
to wear. And this is for press
appearances, red carpets, magazine
editorials, and sometimes street style,
i.e. what the client wears to the
grocery store when paparazzi shoots
them. Note, most of the time celebrities
don't wear their own clothes. When a
stylist is involved, they are usually
borrowed from the brand. So, the stylist
puts together the outfit, helps define
the celebrity's image, and maintains
relationships with different brands so
they can get the best, most appropriate
items for their clients. It is a
competition for these clothes because
these brands only make a few samples to
loan out to clients and magazines. So,
the entire industry is requesting the
same pieces and there is a hierarchy.
But did you know that stylists also play
a major role in securing their clients
fashion deals which can be worth
millions of dollars? Let's talk about
how this relates to Law Roach and
Zenaia. So, Zenaia was a very cute
Disney star who wanted to graduate out
of the space and be taken seriously as
an adult.
actress. Fashion and being styled by
Roach was a key way to do that. But how?
Because of her good outfit, she was able
to secure press, which helped with her
relevancy, which then makes fashion
brands want to be associated with her,
and movie studios want to cast her in
films. It's not just about talent and
being pretty. It's about a fashion brand
determining if you have good taste, will
represent their clothes well, and be a
good association/alignment.
For example, when Kim Kardashian first
started, she was doing deals with brands
like Sears, RIP, BV, and Sketchers. But
through her affiliation with Yay, who
introduced her to luxury designers like
Givvanchi and Lavan, she secured deals
with luxury brands like Balenciaga.
Eventually, styling changed her entire
positioning. So, for Zenaia, she
wouldn't always have a project to
promote, but she'd show up to different
red carpet events. Sometimes she wasn't
even invited to them just to have her
picture taken. Law had an interesting
strategy where he would purposely put
her in clothes another celebrity has
already worn in order for Zenaia to
appear in the who wore it best feature
which used to be a staple in the weekly
tabloids. And we know who would win. The
goal with these outfits is to get press,
boost relevancy, and for most stylists,
secure a fashion deal for the talent.
So, what is a fashion deal? It's a paid
relationship between a celebrity and a
brand. A brand pays a celebrity millions
of dollars to wear their pieces a
certain amount of times a year and
appear in brand campaigns. Zenaia's
first fashion deal was with Tommy
Hilfiger in 2017. Then she leveled up to
Valentino before leveling up again to a
Louis Vuitton deal a couple years ago.
Law has been a part of all of these
deals, meaning he is in the contract and
gets paid a portion of the millions of
dollars the brand is paying Zenaia. he
gets a cut. He also appears in some of
the campaigns, which means he's paid his
talent as well. But this wasn't always
the case in the celebrity styling
industry. In the past, even if a stylist
had helped a client gain this deal, they
were cut out of it. In an L magazine
cover story, Zenaia says that Law is her
creative director and he's part of all
of her fashion deals. But I will say
most celebrity clients don't look out
for their stylists in this way. So these
larger luxury deals with someone like a
Louis Vuitton usually open themselves to
other brand deals as it did for Zenaia
who also currently has a deal with the
Swedish running company on which is
probably worth millions of dollars and
law is getting a cut. He's styling the
campaign that's a payment and he's
appearing in social content surrounding
the campaign. That's another payment. So
while he's helping Zenaia secure
lucrative brand deals, Zenaia is
embedding him into each of her deals. So
everyone, this is why it pays to dress
well. I love that you have
this ownership and equity. I saw you
speaking on another panel and you were
just saying how like now for me it's
like it's not enough for us to be the
face. It's like how are we having like a
real investment or stake in this brand
or business and you also talked about
the idea of like making creating an LVMH
or caring. Do you still aspire to that?
Like is it still something that's top of
mind for you? I do. I do dream about it
and I manifest that all the time and to
see what that would look like if it's
just kind of like part of Versace and
now we have this thought of like what
the Italian version would be of a curing
or or LVMH and so yeah like what you
know we have to think and and dream
about what would a black you know a
blackowned black centered um
conglomerate of fashion look like you
know if we had ownership in it. Yeah, I
dream of that. Yeah, cuz I think it's
necessary. Yeah. Speaking of dreaming,
have you dreamed of what Zenaia's
wedding dress is going to look like?
No. Really? The wedding Zena is working
on six movie. Like she has like six
movies coming out. Like I'm thinking
about I'm thinking about the I'm
thinking about the press tours. Okay.
It will probably be a wet dress that
nobody will ever see to be quite honest
because she and Tom are super private
about their relationship. well, not
their relationship, but about and they
try to be as private as possible. So, I
don't think there like there won't be a
vogue spread or there won't be a, you
know, pictures of the wedding, you know,
and and the people that she will invite
will be really respectful of their
privacy. So, it'll be a really beautiful
dress that no one gets to see.
Damn. Right.
Have you made an official announcement
that you're not retired anymore? Yeah, I
did it at the Fashion Trust Awards.
Okay. Yes, cuz you do it with Ryan. No,
I did it on stage. You did it on stage.
Okay. I was given the award for um for
uh Ready to Wear. Okay. Okay. You talked
about it a lot um about this moment that
brought you to saying like I'm done. How
did you get back to a place outside of
what we talked about of wanting to be
involved with the Med and also just
doing what you want? How did you like
mentally get back to a place of I want
to be basically of service again? Yeah.
No, no, you going to use my words
against me.
I'm just happy. Yeah. You know, I'm I'm
happy I'm I'm building out my team. I
have, you know, one of my assistants
that like when I was struggling and
going through everything when I lost my
nephew and the retirement has really been
been
like a backbone for me. So, this time
around, I'm going to come I'm coming
back and I'm going to rebuild my
business, but I'm going to give equity
in my business to a couple other
stylists. Wow. that we become more of
like this firm in a way. I love that.
Yeah. Yeah. Yeah. Yeah. It's It's
definitely going to be one. Her name is
Crystal. Um we're just trying to figure
out if we're going to have another
partner or not. Okay. I cuz I like to
work in volume, you know. I like I like
the chaos. I love I love to have my
hands in a lot of different things. And
then, you know, it's the TV career and
then it's you know, the consulting and
you know, hopefully designing and all
those things. So, but I still want the
styling to be at the core of it all. So
I'm so I'm going to offer equity in in
my business to people that I believe in.
Wow. Street style. So I know that Seline
you leaned into that heavy as a part of
like this transformation of people
seeing her as a young cool fresh woman
or whatever. And there's some stylists
who like solely focus on that like what
girls wear to go to the grocery store or
whatever. Is that a space you care
about? Like I don't have clients that do
that. You know what I mean? I I feel
like to be quite honest and this could
sound cocky, but I feel like I invited
street style with Seline because her
walking out of that hotel every day in a
different look and and that becoming
world news every single day. I just
think that there wasn't a name for it
then. But I think the girls that do
street style like May Riley and I think
it's Danny and Michelle maybe those
girls are really kind of pushing the
needle more than more than red carpet
because those things convert. Mave could
put her client in something or Haley
Bieber could wear something and you then
you see people going and buy it like so
I think the girls that focus on street
street styling and street style looks
are actually a little bit more valuable
than than just people who do red carpet.
What's your advice to folks who want to
have and they should definitely be
compensated for sure a thousand%. Yeah,
because you are a face and you clearly
unders and I think you're suited to be
that. Like I think you're suited to be
talent. You're smart, articulate, fun,
entertaining, all that beautiful, all
that. So, you're suited to be on the
camera, but some people don't always
love that, but it does feel like styling
feels like it's like, damn, how long am
I have to carry around garment bags?
Like, it's a like what do you say is a
trajectory for folks who say, I don't
want to be talent, but I want to style.
Like, it's the it's personal. It's
personal. I had an assistant, one of the
best sisters I ever had. He never wanted
to be a stylist. He just wanted to help.
He wanted to be in the background. He
wanted to make me um make me as, you
know, be a part of my success and that's
what he wanted to do, you know. And some
people that they love it and they want
to do it. Patty Wilson has been doing it
for years and she's still doing it and
she's still on sets tying up shoes and
you know, so it's a personal preference.
I'm naturally lazy like
What you mean? I like to No, I like to
work, but if I could if I was a Nepo
baby or if I could marry well, I would
do that and I wouldn't do anything. You
know what I mean? Like I would go shop
and get massages every day. But you
know, I work because I have to I have to
maintain, you know, this lifestyle and I
want to maintain a certain lifestyle, I
should say. But um it's a personal
preference. Some people want to do it to
the day they die. Some people some
people are blessed they do it as a
hobby. Mhm. You know, a lot of the
stylists have rich husbands or great
families and so, you know, it is what it
is and some of us don't. Yeah. Exactly.
You know, what is the win now? You know,
I think so much of your career has been
fighting for something and I think it's
like that for a lot of black people who
are creative in a space that's mostly
white, which is most spaces. You know,
what's the win for you now? What are you
fighting for now? I know you said you
care about others and you being a
reference point for them, but but what
else? What's a win for you? I think that
that that is still the win. You know,
anytime someone can use my name as, you
know, well, I think it's possible. I
know it's possible because law did it,
you know, I I I that brings me the most
joy that I've been able to open doors
and and changed, you know, people's
lives financially, right? I've been able
to do a lot of things first. So now
there is a reference point to say, oh
well, you can't say I can't do that
because he did it, right? And I love
that. You know what I mean? I love
sharing. You know, people people know I
am very open about the amount of money I
make, how I make it. You know, these we
are dealing with billion-dollar
corporations and we are at and we're
basically getting crumbs, right? So, you
know, hopefully if I can tell you how
many crumbs I get, you can go back and
you can get more and then when they come
back, I can get more and then it's like,
you know, hopefully those crumbs turn into a whole loaf at one point. You know
into a whole loaf at one point. You know what I mean? So, I'm all about that's
what I mean? So, I'm all about that's that's what I care about and I care
that's what I care about and I care about that for black people. I want to
about that for black people. I want to see us win. I'm just like Issa. I'm
see us win. I'm just like Issa. I'm voting on, you know, I'm rooting for all
voting on, you know, I'm rooting for all the black people, you know what I mean?
the black people, you know what I mean? At the end of the day. So, that's still
At the end of the day. So, that's still my win. Yeah. Yeah. Thank you so much
my win. Yeah. Yeah. Thank you so much for coming in. I know me, you know,
for coming in. I know me, you know, growing up in the 2000s and Vibe being
growing up in the 2000s and Vibe being my reference point and it's like you see
my reference point and it's like you see these names and these black stylists who
these names and these black stylists who have clearly impacted the industry, but
have clearly impacted the industry, but a lot of times they've gone unknown
a lot of times they've gone unknown until semi-reently. So, I love that you
until semi-reently. So, I love that you are a face. I love that you people know
are a face. I love that you people know who you are. I love that you are getting
who you are. I love that you are getting paid for what you're worth. I hope you
paid for what you're worth. I hope you are. I'm sure you are. Um, and I think
are. I'm sure you are. Um, and I think it's just such a and that you were able
it's just such a and that you were able to circumvent the actual regular
to circumvent the actual regular traditional process, you know, and I'm
traditional process, you know, and I'm thankful that you came. Thank you for
thankful that you came. Thank you for having me. I think I was able to
having me. I think I was able to circumvent that process because I I was
circumvent that process because I I was such an outsider. I didn't have anything
such an outsider. I didn't have anything to say. You're supposed to do this,
to say. You're supposed to do this, this, this, this, this. I just kind of
this, this, this, this. I just kind of did what I thought was right. Yes. And
did what I thought was right. Yes. And it worked. Exactly. And Yeah. And you
it worked. Exactly. And Yeah. And you don't feel limited to like, you know, I
don't feel limited to like, you know, I don't look like her. I don't sound like
don't look like her. I don't sound like her, so it's not going to work for me.
her, so it's not going to work for me. Yeah. Yeah. And you a lot of that [ __ ]
Yeah. Yeah. And you a lot of that [ __ ] is learned behavior. Oh, no. You can't
is learned behavior. Oh, no. You can't ask for that. They would never do that.
ask for that. They would never do that. And I just I had nobody tell me no or
And I just I had nobody tell me no or that I shouldn't. So, I just did it and
that I shouldn't. So, I just did it and I asked for it. Yeah. Yeah. That's great
I asked for it. Yeah. Yeah. That's great advice, everyone. Ask for it. Yeah.
advice, everyone. Ask for it. Yeah. Thank you, law. I appreciate you.
Click on any text or timestamp to jump to that moment in the video
Share:
Most transcripts ready in under 5 seconds
One-Click Copy125+ LanguagesSearch ContentJump to Timestamps
Paste YouTube URL
Enter any YouTube video link to get the full transcript
Transcript Extraction Form
Most transcripts ready in under 5 seconds
Get Our Chrome Extension
Get transcripts instantly without leaving YouTube. Install our Chrome extension for one-click access to any video's transcript directly on the watch page.
