Celebrity Stylist, Sam Spector on Good Styling, Credit and Acknowledgment
WITH SAM SPECTOR
Credit and acknowledgement of a stylist’s work has certainly been misunderstood and unappreciated. A-list stylist, Sam Spector is Making that known.
Photography, Javed James
Words, Brett Staniland In Conversation with Sam Spector
VIEW GALLERY
The work of a stylist in the fashion industry has had a turbulent history; from being a taboo subject for a celebrity to mention, to one of the most expanding roles in the industry, helping solidify a brand or person’s identity.
Just a few years ago, GQ remarked about how Sam Spector had contacted them regarding corrections to the fashion credits they published in an article, and then invited him to interview as a result.
Sam has worked with some of the world's leading talent for their biggest and most important red carpet moments, such as Eddie Redmayne, Daniel Radcliffe and Neil Patrick Harris. His deep understanding of how to style individuals was shaped by his knowledge of his clients and what they felt most comfortable in to fit the occasion.
You’re only as good as the people you work with and the people and brands that support you.
Having grown up in Michigan, Sam went to University initially as a psychology major, before heading into the fashion industry as a market editor with hopes of designing.
While continuing on the psychology track, he also took on internships in New York with designers before heading to Parsons School of Design for an Associate’s degree. Out Magazine offered Sam his first styling opportunity as an intern in the fashion department under the mentorship of Gregory Wein. During this period, Sam recalls how stylists were very much behind the scenes and celebrities weren’t really ever going to divulge who was making them look good, but over the next decade this would change.
In last few years we have seen some examples of how ‘credit should be done’, usually in the form of an extensively long caption to an instagram post with everyone involved in the shoot tagged, but this doesn’t really do much for a) anyone who’s not on instagram (whom I envy), and b) acknowledging and understanding what the work actually consists of. For Sam, he still believes many people don’t really know about the inner workings of being a stylist since he continues to receive questions about it till today. With his extremely humble and friendly persona, Sam enlightens me on his journey to becoming the guy the A-listers rely on.
In this interview, we discuss the approach he takes to styling work, and the evolution of the industry with regards to male celebrity culture.
THE LOOK
Thom Browne
BS: What was your first styling job?
SS: I did my internship at Out Magazine under the fashion director there after initially working as a market editor. I was involved in pulling the clothes and styling on set. After that, I moved to L.A for a while and worked for a retailer there, and then got an agent for styling and would fly between the coasts. My first real freelance client was Dennis Leary (starred in The Amazing Spider-Man).
BS: Wow, did you have to step on any toes whilst transitioning from working at a magazine to doing it on your own?
SS: Absolutely not. I have always been respectful and all my relationships have happened naturally and organically while respecting those who I work with in the past and present. It's very important to maintain a professional relationship and to never burn a bridge.
It's very important to maintain a professional relationship and to never burn a bridge.
THE LOOK
T Shirt, Calvin Klein; Trousers, Journal Standard Relume
BS: How were you able to curate such an A-List clientele?
SS: I was lucky enough to meet some great publicists who introduced me to their clients. It’s important to network with the right people. You’re only as good as the people you work with and the people and brands that support you. I noticed celebrity culture was taking over, like on the cover of magazines rather than models. I thought this would be a good move for me and so, I positioned myself in that way.
BS: How has celebrity culture changed from when you first started working within celebrity styling?
SS: We are having a great ‘time’ at the moment, in menswear especially. If you look at just the previous awards season, we've had some amazing moments. It's good for fashion and celebrity culture in general, but also the lay-mans dressing too. It creates more opportunity for people to look and feel great. We would never have dressed Neil Patrick Harris in a light pink tuxedo or put a blue corduroy suit on Andy Samberg before. And Leslie Odom Jr. in that gold Brioni suit; it’s great for male celebrity styling that people are taking more chances. The Billy Porter’s and the Harry Styles’ of the world, dressing more ‘out-there’; it trickles down to men wanting to stand out and not wear so many ‘classic’ and ‘traditional’ pieces.
BS: What do you enjoy the most about having a big event or moment to work on? Do you ever feel pressured to create a big moment that must “hit”?
SS: I love that it's really fast and the end result happens very quickly whereas in TV and film, it can take years to get a project green-lit. From conception to end product, this can be as little as a month. I like custom making for clients, sourcing fabric and putting together the full look. It means I can be really creative. Seeing the final product and in particular, seeing other peoples reactions is a really good feeling.
Luckily I have great clients, publicists and teams who don't really create too much pressure. It’s an added bonus if we make ‘best-dressed’ lists or great press on a look or an event, but that’s not the aim going in.
BS: Do you think custom looks are becoming more popular and sought after for red carpet events?
SS: People love to have one-of-a-kind pieces, and I think brands are more interested in having a great moment on the red carpet for social media. So there's a willingness to create those moments. I hope younger designers can get the opportunity, credit and recognition too.
THE LOOK
Suit, Victor Li; T Shirt, Calvin Klein; Sandals, Want Les Essentials
BS: How do you approach styling specific talent for an event?
SS: Every project is different so I’ll have a deep conversation with my client to discuss what sort of look they're after. We then work collaboratively on deciding the look and feel. Then I work with designers whether it’s custom making pieces or pulling looks from showrooms and then multiple fittings to achieve the right look and feel we were going for.
BS: Did / do you have a mentor, or are you mentoring anyone?
SS: There was Gregory at Out Magazine who I worked under first. When I became freelance, there were a lot of people I learned so much from like Nick Sullivan (Esquire) who taught me about men's formalwear, tailoring, and the ‘rules’.
I worked with Teen Vogue and I learned from people there too, as well as publicists along the way, like when I was styling Eddie Redmayne. I have always had interns who can get credit for their studies, and I can teach them about the industry as well as styling. It’s important to me that they’re involved in more than just the schlepping clothes around, that they learn about doing the fittings and shoots and assist in all aspects of the business.
I have dressed people of color since the beginning of my career and have always found bias in the industry.
THE LOOK
Shirt, Victor Li; Trousers, Journal Standard Relume; Sandals, Want Les Essentials
BS: The Hollywood Reporter recently named Hollywood's top stylists, with Law Roach coming out on top as well as many other people of color being recognized. There have been consistent conversations about 'access' within the industry for stylists, particularly for people of color. Do you think this will change? And considering you said you were lucky to be introduced to publicists - what are the other options for people looking to do something similar?
SS: Access has always been an issue. I have dressed people of color since the beginning of my career and have always found bias in the industry. I am hopeful that as our country and world become more open, access amongst stylists and talent is equally represented. I do think we are headed toward that direction. Others looking to get in the red carpet styling industry really need to network, whether that's interning for a designer, magazine/publication, publicist, stylist, or talent agency to get to know the right people that have access to the talent.
BS: Stylists can often be left off credits and miss out on being mentioned; do you believe stylists deserve more recognition and credit?
SS: I feel like people don’t understand what goes on behind the scenes, they think people just turn up looking fabulous, whereas there’s dozens of people behind the scenes making one shoot happen. So I don’t know if it’s about credit or more understanding the process.
BS: Is there a sense of community within the styling space?
SS: I have friends who I have met along the way like Micaela Erlanger who I am in constant communication with about the business. We share our ideas and process. I am personally not competitive because I think there is enough work to go around. I try to be helpful when others are getting into the business with introductions to people already in the business and giving advice when I can.
THE LOOK
Suit, Bobblehaus; Sneakers, M. Gemi
BS: Does your personal style influence your work with others?
SS: My taste certainly affects my styling but each of my clients has their own personal style. I think any stylist is only as good as they are able to channel their clients personal style.
BS: Are more men becoming more aware of fluidity in their dressing with regards to “masculinity”?
SS: I believe the rules which govern how men dress have definitely been broken down. Which perhaps comes with the other things that are going on in our culture right now. I do think it has always been around, with the Mick Jagger and David Bowie era, but it's coming more into the mainstream now.
THE LOOK
Jacket, Keiser Clark; T Shirt, Calvin Klein; Sunglasses, Mr. Leight
BS: I have seen that you’ve designed looks too, how is this process for you? Is clothing design something you’d like to dive deeper into?
SS: It feels really creative. It’s a lot of fun and I have learned a lot about creating custom looks. It would have to be the right thing at the right time, but maybe working with a brand on something together would be really fun. I’m enjoying mirroring my travels with my fashion experiences right now though. I’d like to explore dressing people and making apparel for these adventure travel experiences. People want to look great in these activities so they can create more of those ‘instagrammable’ and memorable moments.
BS: With many stylists diversifying their outputs, such as brand collaborations, books and youtube channels, how do you think this will manifest opportunity for the next generation of stylists?
SS: I know a lot of people call themselves stylists or are ‘wannabe’ stylists. But it’s very important to get the proper training and education under the right people, to teach you the foundations of the industry. It’s actually a business that just looks like fun and games! There’s many aspects of the business you need to understand.
