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So, Isabel Oddino, thank you so much for coming.
My pleasure.
Isabel, to start off,
tell me briefly, what do you do?
Well, I'm a fashion stylist.
I used to work for editorials and also advertising campaign.
I'm also work for Karena Radar or another brands working with clients.
But, mostly is that my job.
Okay. So, when you are creating the styling for a campaign,
what is the process that you go through?
Well, first of all,
you have to talk with the client.
They give you a briefing and that is the Bible.
I mean, that is the most important thing.
And, no matter how many times you have to do it,
I guess it's very important to ask everything you need to the client,
because they give you all the important details but maybe you need more.
Sometimes, they are talking.
What we have to do is to translate or build
the personality and the image of a person through the clothes.
And sometimes, it's easy.
But sometimes, it's not because the client can talk
about Mediterranean way, for instance.
What is Mediterranean way?
It can be like, Formentera mood,
it is Capri mood,
it is a very relaxed woman who's in the Mediterranean,
or it is a very sophisticated girl.
So, sometimes it's not just a question of colors,
of shapes, of a jacket.
It is having more clear the idea of the women or men he wants to transmit.
So, you have to find all the closets to help
the client to transmit that clear idea of the personality.
When you say 'the client',
who are you referring to?
Well, the agency or the final client.
Sometimes, it is in the PPM, the last.
Sorry. What's a PPM?
Pre-production meeting. That is,
first of all, you have a meeting when all the team is there.
They give you a briefing and everybody's asking for any question they've got.
And, during that time until the shooting or the film is made,
you have to call or email for any questions you've got.
Three/four days before the shooting,
they set pre-production meeting.
That is, all the team is again there.
But, instead having in mind she will wear a blue dress,
you have to have an image or a picture or even the blue dress that she's going to wear.
So, it's the last meeting before the production to make clear everything.
The makeup, the hair,
every single detail have to be clear.
Otherwise, during the shooting day or the film,
you don't have time to waste.
Right.
So, let's look at it this way.
Can you give me an example of a campaign that you've done
and how you took the story that they wanted to tell and then translated it?
Can you give us a specific example of a particular campaign?
Well, for instance, I was working for Carvela Kurt Geiger.
Carvela Kurt Geiger, the Euro brand.
And this time, it was a little more difficult because we were working with a celebrity.
It was Olivia Palermo.
She was the model.
So, there are two people there.
It is the client and then there is the celebrity,
because you have to confirm everything with the client,
but also with the celebrity.
So, this is more complicated.
Of course.
But, in this case, for instance, it was Mediterranean.
And we went to Ibiza.
But, you know, Carvela Kurt Geiger is
a very luxury brand of jewel and they don't want to have
any hippie way at all.
So, what they have in mind was blue and white.
So, a very relaxed ambient.
But also, quite sophisticated.
So, they give me some brands they want to use because Olivia Palermo,
she's a trendsetter, and she have to also choose what she wants to wear.
So, they asked me for big Femellas or strapless dresses, whatever.
They give you some details of what they want.
In that case, it was because of the jewels.
So, they want clothes to emphasize the pieces.
Right.
But, they don't want it hippie at all.
If I say hippie, you understand.
Not the athlete or anything like this.
It's very important what you are shooting.
The location is very important for the stylist
to have an idea what she wants to do and what he has to do.
It is not the same if we are shooting in the beach and this is with no shoes
on and here we are in a amazing villa with amazing view.
So, I asked for all the details.
Then they give me all the pictures of the places we are going to shoot.
And, I have to give my suggestions of the outfits in each place.
Also, I have to have in mind all the jewels,
all the small pieces that she is going to wear in every single picture.
And then, we need the final approve of the celebrity.
So, sometimes, it's more complicated than when you think at the beginning.
In that time, she is cute and it was very easy.
But you have to take care of everything.
Right. So, specifically talking about the brand itself, you mentioned color.
Can you talk about how were the ways that you give that,
what we call the look and feel or that sensation of the brand?
Color and what else?
How do you take the brand and then translate that into the clothes?
It is very important to study all the details of the brand.
And talking to the client,
to the person who you are talking to,
about every single detail what you want to express.
Well, last year, I was working for a political party and I won't say which one it was,
but the main theme in the briefing was not using
one particular color which was the color of the other political party.
The competition.
Yes, the competition.
So, sometimes it's very, very clear.
So, one last question for you.
You have these ideas that you are going to present.
How do you present them to the client?
Most of the time is with a mood board.
We built a mood board and it is funny because sometimes,
most of the pictures that we use is clothes,
or is a kind of woman.
But sometimes, they ask a color,
it can be a painting or it can be a picture of an actress of the 70s.
Because, what you want to get is Lauren Hutton mood, for instance,
and there is not a better way to express it than a picture.
So, sometimes it's a picture of a woman or a man or a film or a painting.
And, of course, a lot of clothes.
But, mixing with location pictures
or even a beautiful fashion story that was made in a similar place,
it is the easy way to give the client and everyone the idea what you want to get.
Isabel, thank you so much.
This is wonderful to have you here. Thank you very much.
Thank you so much.
Brian HallettAssociate Professor
