EP10 Corina Gaffey on Styling Celebs, Going Freelance & Making it in Fashion

Fashion might look glamorous on Instagram but behind every red carpet moment is a LOT of chaos, spreadsheets, sourcing, fittings, returns, early mornings, and problem-solving that nobody talks about.

For the season one finale of the podcast, I’m joined by celebrity stylist and fashion journalist Corina Gaffey for a really honest conversation about building a career in Irish fashion, freelancing, backing yourself, and figuring things out as you go.

Corina shares how she went from magazine life at KISS and Stellar to styling major names like Vogue Williams and Joanne McNally, and what fashion styling actually looks like behind the scenes.

We also talk about:
• “faking it till you make it” and learning on the job
• the reality of freelance life when the inbox goes quiet
• the pressure behind red carpet styling
• confidence, personal style, and social media trends
• why copying someone else’s style never really works
• rejection, resilience, and building relationships in the industry

It’s an insightful and honest chat about creativity, career pivots, self-belief, and finding your place in a competitive industry. I hope you enjoy!

Transcript

Season Finale And Guest Intro

Speaker 1 0:07

Hello there and welcome to the Delusional Optimist, the podcast about fresh starts, new beginnings, and navigating the messy middle of life. If you're new around here, here's how things work. Each week I sit down with someone who's building or has built their dreams as we get into the highs, the lows, and everything in between. And this week's episode is a really special one because it's our season one finale. Yes, I know. 10 weeks have gone by in the blink of an eye, and I feel so grateful to have had so many gorgeous conversations with such interesting, beautiful people. And I'm probably even more grateful to you for listening in as well. So thank you so, so, so, so much. Um, I couldn't think of a better guest to end the season on than celebrity stylist and fashion journalist Corina Gaffey whose career spans both sides of the fashion industry. From her early days at Kiss Magazine and stellar to writing for the Irish Times, the Irish Examiner, Image, Irish Tatler, and so many more publications, Karina has built a strong voice in fashion while also styling some of Ireland's most recognizable names, including Vogue Williams, Joanne McNally, and Darren Garri. In this episode, Karina and I talk about what it really takes to build a career in such a competitive industry. We discuss the idea of faking it till you make it, and taking the leap of faith into freelancing. We also go behind the scenes of styling to talk about how much talk goes into dressing someone for a public moment, and we talk about how to approach trends in a way that feels confident, considered, and personal, including why a capital wardrobe isn't a one-size-fits-all scenario. At some point you'll hear Corina and I talk about a show called Fade Street. If you think of American reality TV shows like The Hills and The City, that's what we're talking about, except the Irish version, which Karina starred in. It was so iconic at the time. And um, I know that I, along with everyone under the age of probably 40, was glued to it. So yeah, I hope you enjoy this conversation. This is Corina Gaffey. Hi Corina, welcome to The Delusional Optimist.

Speaker 1 2:22

Hi, thanks for having me. I'm super excited.

Speaker 1 2:25

Me too. I think it's so funny, right? Because obviously this is an episode about you as a stylist and style and identity. And I've turned up in florals. Florals for spring. Oh, groundbreaking. I don't know. I think you always see florals. I think that's kind of your signature as well. And I think that I'm gonna get into it more in a while. But I also think it's so nice for people to have kind of a signature style and kind of evolve it or push it on a little bit more, but also where's something that they love and they're comfortable in? Well, we can't bypass the fact that Florals for Spring is obviously a very famous quote from The Devil Wears Prada 2, and it's a hotly anticipated film coming up all about the fashion industry.

Speaker 3:07

Is the fashion industry as brutal as that film may set out to be? I think maybe internationally it could be, but like I think in Ireland, especially, everyone knows each other, so it is a bit more of a friendly space. Yeah anyway. People say to your face anyway. I'm only joking. But I definitely think Ireland is so much smaller and it's definitely like a relationship industry, as in it's built on relationships and kind of building up relationships across the world, I think, but specifically in Ireland, I definitely think you know it is a lot about who you know, getting to know people, and relying on kind of reliable people, essentially. I think people tend to forget that. Like you obviously have to be good at your job, but if you're reliable sound, that goes a long way too.

From Media Student To Stylist

Speaker 1 3:56

Yeah, and you are definitely very sound, very reliable and amazing at what you do. Um, we have to talk about your story of how you got into fashion. We are friends, we've worked together in the past, but I actually don't know your backstory. So let's get into it. Let's go back to Karina as a young girl and what you wanted to do and how you ended up in this world.

Speaker 4:17

I think I always wanted to work in media and journalism. Um, my uncle was a journalist. I always just enjoyed kind of popular culture, um, every element, films, music, all that kind of thing, and then always wanted to work in media, always read newspapers from a young age, which was really random. I read so many books when I was younger. My dad was like, I think you should be a librarian, but I think I'm too loud and chatty for that. But I was just obviously into consuming kind of different media. Maybe I just loved looking at different costumes as well, but I didn't really realize it when it came to kind of films and stuff. And so I studied English media and cultural in college, and I really wanted to get into fashion, but I knew I wasn't creative in the sense of being artistic in drawing because I wasn't gonna be a fashion designer, and kind of back then there wasn't really any like fashion styling courses. Obviously, I kind of knew what fashion styling was because I used to work in Rita. People who were like shopping for costumes used to come in, and stylists used to come in, so I was kind of like had a little like glimpse of the world, and but I ended up doing a master's in journalism, but before that, I started kind of like just fell into styling. My friend was in a band, and she was like, I need some clothes for a shoot. So then I started just to like get stuff for friends. I have friends that were photographers, they were doing the end of the year projects, and then I started getting kind of clothes and just learning on the job. So I would say there is no like straight path into the media industry, particularly fashion styling, and I think that's what's so interesting about it. Like everyone kind of arrives at it in different ways. So I did styling myself when I was kind of learning on the job and kind of making it up as I went along, and then just to gain more access, I assisted a few different stylists as well and kind of joined like up with different stylists and kind of learned on the job that way. Because I think assisting is really, really like important as well to learn, and it just accesses different parts of the industry that you mightn't be able to access. So I think it's really important because I had done shoots myself. Then they kind of were kind of giving me jobs because I had experience where they were kind of like, Oh, look, you can go on this shoot on behalf, so then you know you build up your confidence, and then sort of just kind of snowballs, it's so cliche to say, like, kind of fell into it, but that was the way it was back then. I was also working in restaurants in the evening as well, like it wasn't like I was full-time, so I was kind of like working during the day on shoots and then going into restaurants in the evening, so it was really like hustling hard, and which I think is another aspect of the industry. Once I kind of built up my portfolio, I heard that there was a job going in Kiss magazine and Stella was yet to be born, and they were like grumbling that they were making a kind of 18 to 35-year-old magazine. So I went for an interview and I got it. And I remember going for an interview for something else fashion-related, and my face was so red in the interview because I just knew they didn't get me. Like, do you know what I mean? I was kind of like forcing to try be the person they wanted to be, and I just remember coming out of it going, I didn't get that, but I really wanted it because it was fashion-related, but knowing deep down it wasn't for me. And then when I went for the interview for Stella and Kiss, and it was just like it all clicked and I got the job. It's so important, I think, that kind of you know, realizing as much as the job might sound like it's for you deep down, it mightn't be, but trying to fit yourself into that box, you know, it's very difficult, but yeah, you know, the right job is there.

Speaker 1 7:50

There's nothing worse as well than going for an interview or being in a situation where you know you're really passionate about what you do and you really want to project that onto the other person. But as you said, for whatever reason, the circumstances just aren't coming together. And there's there's this feeling of dejection because it's only as time goes on that you realize with hindsight, well, that wouldn't have been good for me anyway. But in that moment, it's like you feel like you're crumbling because you're like, ah, my chance, and you're clutching at it. But how are you to know then that it's not quite right for you, even though you had an inkling, you know, you still really, really wanted it because you were building up your CV, I'm assuming.

Speaker 8:27

Yeah, exactly. Interviews are hard, and I actually don't have that many interviews or have done that many interviews for jobs in like a self-employed landscape. You don't really, I think every job is nearly an interview because you know, you're trying to be at your best for every job when you have multiple clients, you have multiple bosses, but no straightforward interviews, really, which I'm kind of glad at.

Kiss Stellar And Fade Street Years

Speaker 1 8:52

And then your time with KISS was kind of iconic. I mean, you ended up being on Fade Street. Yes, yes, yeah. Obviously, they they filmed in the Stellar, was it Stellar at the time offices? Talk to me about your time at KISS magazine and then how how that helped shape you as a stylist and building your name within the industry because that was very much it was a it was a really great opportunity. I mean, you got to work with lots of models, there were famous people doing shoots with you guys.

Speaker 9:21

You really had the best of both worlds in that space. I have to say, like, it was kind of my defining moment in the industry. I was there for six years, so I started first and I started was on on KISS until Stellar launched. So, like obviously, everyone who kind of were the founding members of Stellar really were so passionate about growing this magazine because when it launched, no one really knew about it, so we really were out there like kind of like promoting Stellar as much as possible. So I worked across the two. So Kiss magazine, for anyone that doesn't know, was a teen magazine and they had Kiss Dev. So that was probably for like I'd say age 12 to maybe 18. Then Stellar would be for 18 to 35. Like Stellar was writing, like you're talking to your best friend, and then Kiss is like maybe talking to your like younger sister and stuff. So like we had like tonal things that we needed to switch. Obviously, we had to be mindful of stuff in KISS styling-wise, and then Stellar kind of pushed it a little bit more. But everyone on the team was like young, fun. We loved working really hard, like it was just all like styling time as well, because like I kicked out to events, and it was like my first kind of exposure to all that kind of stuff. It was a very like popular culture magazine, like you know, the hills, all that kind of reality TV show. We would feature Lauren Conrad, Gossip Girl, like it was all the early 2000s time as well. And then I got an email from Stray Waves about Fade Street before it started, and they were like, Would you guys be interested in you know, filming a reality TV show? And obviously, we had consumed the hill so much and the city and all that kind of thing. And Costella was kind of like a baby and stuff, it was like a perfect fit. Like the editor, Susan Mastercrist, obviously would have had sign off on that, and she was featured on it. So that was just kind of so raped and fun. Like, if I look back on it, it is a bit cringy, but like in a it I I'm more cringing at my hair and my clothes. Actual show, you know, but like, yeah, like totally living the dream. I was doing everything from like social media to styling covers to writing to fashion pages, interiors, like worked so hard, but then I feel like it gave me such good grounding because now that I'm freelance, I'm kind of like, oh yeah, I can do that. I can do kind of oh, I can style, oh yeah, I can write. It means that I can kind of like take all the boxes, and I think that's what's so important when you're self-employed. Is like you're gonna have quiet times maybe in shoot styling, but then you could do other things like content for writing, so it kind of gave me a setup to like when I'm freelance that I can kind of like pick up different kind of jobs and stuff. Because a lot of people sometimes specialize, particularly in the UK, they used to, I think it's changed a lot. UK magazines would obviously have this really big like staff list and someone would responsible for one page a month. And I remember like UK people used to come over when I was an attacker and they'd be like, Oh, so how many are you on the fashion team? And it'll be like, It's me and a style assistant. That's it, and they just couldn't get over the sheer workload that we did. But when you're young, you'll do it all, and you'll take it all.

Speaker 1 12:34

Yeah, yeah, yeah, exactly. Yeah, was there something because you had such a vast array of things that you were doing and dipping in and out of when working for for Stellar and Kiss at the time? Was there something that stood out to you as like, actually, this is really my calling? Like, I love this. Maybe the styling part, maybe the writing part, maybe the collating, like the top picks for the for the month or the season, whatever it might have been, or were you genuinely enjoying every aspect of it?

Speaker 13:01

I think the styling and doing the shoots was the most fun. I think because I had been doing that previously, and then to get to do it like four to five times a month and you know, come up with the concepts and all that kind of thing, and then also, you know, just the instructional side of things, like just showing people how to wear stuff or the fashion pages I loved as well. So it would be the styling and then the covers and then the fashion pages. I just don't think you can ever not get a kick out of when you're a stylist, having your name in print, seeing a hard copy of your work, and then also seeing a front cover that sits there that everyone can see when they're doing their shopping Tescas or whatever, and then it's like your front cover of your magazine. Like I still get a kick out of that today.

Speaker 1 13:44

Yeah, it is so exciting, but it's changed so much, as you said, the industry, like fewer magazines, fewer publications, everything is moving digital, which I know is exciting in its own way because maybe more eyes can look at it, but there was something so magical about print and holding the physical copy in your hand, and you know, that was like the culmination of your hard work. And I say that as someone who worked in digital journalism for a number of years, and you know, it was rewarding in many ways, but it wasn't the same as like picking up a newspaper or magazine and being like, This is my byline, and it's this amazing article that I got the chance because it's it's the layout of of things as well, and it's you know, the fonts that were chosen, it's it's the whole presentation. I file like online it is amazing, obviously, but it's it's just a very different experience.

Speaker 14:30

The amount of work that used to go into an issue of a magazine, like there'd be like you proofreading and designing, and then you know, they'd print it out and they'd be checking it off, and then like you know, rereading it, and it was just like the attention to detail, you know, to the magazine was unreal, which I don't know if happens as much traditional. Obviously, there's proofreading and all that kind of thing, but there's just so much attention I love going into it, and like we used to get like obviously a copy a couple of days before it went on sale, so like a box and arrive in of the magazine and just like seeing it in reality and like the colours and the print and everything. Just yeah, you just can't beat that feeling of seeing it in person.

Speaker 1 15:09

What was the standout point from that chapter for you? Was there a particular moment, shoot styling moment with a celebrity, or or otherwise that just you're like, do you know what that was really special for me?

Speaker 15:22

So I came up with a concept, and Dylan Saint Paul, the designer, art director, kind of helped as well, like put it together. Like coming up with the concept is one thing, but he like his mastermind made it happen. It was a 3D issue that we did a stellar with the really fun glasses, you know, the red and blue glasses, and that was really fun to do because we thought the cover is 3D. Oh no, I think the cover was a celebrity, and we were able to make it 3D, and then we did two shoots that were like when you put the glasses on were 3D. So that was like funny because you have to like pose the model in certain ways that it would be 3D, like their hand in front and everything. But that was like such a fun kind of thing to do. And I don't think there's many magazines that have done a 3D issue. So I say that was such a highlight because it was like being able to come up with these concepts and then someone to be able to like you know put it into work, like that was kind of amazing. So I learned so much. There were so many good points, like the team was amazing, and you just like had so much had so much fun as well. I can't even think now of of the moments. We just had so much, so much good time, like yeah.

Speaker 1 16:31

I know this is very different because I I worked in TV, so we were making TV things, but I recently came across very randomly on an old YouTube channel, like private videos. So I found all these old videos and there was like a 12-minute sizzle or like little show reel that I made from the years 2010 to 2012 from when I worked in in RTE as a kids TV presenter. So they were they were my first two years on the show, and oh my god, there were so many moments that I was looking back on that I had completely forgotten about. And I was like, how did my brain just completely eliminate those? Because I'm like, there I am with Dermoto'Leary, there I am gargling songs to McFly. Like, sometimes when you're in the moment, you don't appreciate fully how cool the opportunity that you have in front of it is, and then when it's only when you kind of look back that you're like, oh my god, that was such a defining period of my life because I learned so much in that job. And sometimes you can take things for granted as well because you know, when you're working on shoots all the time and you're meeting interesting people all the time, and you know, you're seeing the magazine. I can't remember, was Stellar once a month? Yeah, it was once a month, yeah. So when you're seeing like the fruits of your work every month and it's a guaranteed thing, you do end up taking it a little bit for granted. Maybe, maybe you don't, but I feel like maybe I did at the time because it was just an everyday thing. And now when things have moved on and it's so different, you're like, wow, I wish I I had really like in that moment appreciated it as much as as as I do now.

Mentors Feedback And Self Doubt

Speaker 18:03

Daphne, and I think like I still have all the issues of mo mainly Stellar, and like I love flicking through them and going, Oh my god, that actually is such a gorgeous shoot. Like, I think you're always so hard on yourself at the time, and like you remember the kind of like difficult parts of the shoot, but then when you can take a step back years later and kind of realize you're like, wow, look what we produced with like no budget, and like really proud of the stuff as well. I think in the time you were just like, because we were like we were so busy in terms of the workload, so you don't get a chance to step back and kind of go, Oh, I actually did a really good job. I also think like it's hard to give yourself self-praise as a self-employed person as well, and you do get feedback in the job, but not really constantly, so you're always looking for validation somewhere. So Instagram gives validation nowadays, but you know, it's nice to get like peer-to-peer feedback or boss to employee feedback, but you don't really get that as a self-employed person.

Speaker 1 19:03

Have you had a mentor ever along the way who was able to be that person for you, or did you always have to be kind of your own mentor, picking yourself up and building yourself up along the way?

Speaker 19:14

I think like obviously when I worked for the magazine, my editor would have been my mentor, Susan. She was great. Um, but then as a self-employed person, no, you're usually doing it yourself. My sister is a photographer, I think you've worked with her before. Yeah. So she, I guess, would we be mentors to each other because we both understood the industry, so you'd be able to kind of like vent or ask. So, like, she was obviously she's great to have, still obviously great to have in the industry. And then I have a friend in the UK, Kira. She would be like really into fashion but works more in strategic-y, kind of corporate-y stuff, but her brain is just really good at breaking stuff down and kind of going, okay, well, I think that she maybe wasn't your strongest. Like, I'd be like, Oh my god, is this shit okay? Or like, and then wasn't your strongest, but like and pick out the positives. So just having a few different people that understand the industry and then are able to kind of like talk you down off a ledge is really important.

Speaker 1 20:13

And also people who will be honest, like we all have friends who are like, that's amazing, you're doing great. You're like, Oh, but thank you. But I really want like just tell me, just be honest. Like, I can handle the honesty because how else will I improve if I, you know, if you don't tell me?

Speaker 20:26

Exactly. I think honesty is important in the industry because we just sometimes want not to hear the the the honesty, but yeah, I definitely think it's important. That's why it's picking the people that you know you can go to that will like give you the hard line. So as much as you don't want to hear it. And your husband is a creative himself, like I'm sure he's a very good source of you know, yeah, he is, but he's always so positive in everything sometimes. Okay, he's not person, which is great, like he's always so proud and positive. So I don't know, like if he would always like you know, give me the honest feedback. Reassurance is great, yeah. So yeah, I go to him for that.

Speaker 1 21:10

I do want to move on to then the next chapter after Stellar, but was that the time, the Fade Street days, when you met Vogue for the first time? Because as we all know, you and Vogue are a great team, like you style her for TV appearances, red carpets, maybe her day-to-day life too. And yeah, how did that relationship grow? Was it from that time of the reality TV show?

Speaker 21:33

No, it was from before that, actually. So me and Vogue were actually friends before that, we're like work colleagues, kind of. I think on the show, she's like, My friend Queen works here. And that's true, like we were friends. So we met on a shoot. I think we were doing this random shoot. I think I had to run off to the restaurant, but I didn't want to tell the people um that I worked in a restaurant in the evening because you're like trying to live your best life as a stylist, and you know, like it was a really long day, and we didn't Just bonded it because you know, like you're in such close quarters, and like it's really important, like get on whatever you want on a sheet, and like you know, you have to work through sometimes a difficult or annoying day. So we kind of just bonded over that, and then we would meet at different jobs. She's always just so loyal, and then as her star rose, she would always come back to me and be like, I have this and I have this and of this. So then we just kind of work together on and off for the past like 20 years now, I'd say, which is crazy. And she's just great in terms of like we know each other so well, and we kind of do a lot of stuff virtually and then in person when I can. And yeah, I style all her fairy stuff. I style red carpet, and then sometimes day-to-day as well, where she might just be like, Oh, what shoes should I wear? Or, you know, but she genuinely just loves fashion. She's like obviously has great style herself, but as she's just getting busier with kids and work and everything, you know, sometimes it's a lot about, and then it's a lot of a lot of the same with the clients is that like their time poor, they don't have the time to be like sourcing, you know, buying all that kind of thing. So then I'm there to kind of help and also give direction in in a sense, and and find brands that they might not have known about and and push them a little bit with their style too.

Speaker 1 23:15

I do want to talk about that aspect of things, but see when you were talking about the restaurant and not really wanting to admit while you were at work that you had to go to a restaurant, was a big part of like establishing yourself, faking it till you make it, you know, like giving the air and the the illusion. Because I feel like that definitely applies, whether whatever industry you're working in, like what is it, like dress for the person you want to be. So it's the same thing, like act like the person that you want to be. But I think there's a lovely thing in being honest as well, and being like, Do you know what? Like, I actually have like two jobs on the side to make this work because it's it's not happening straight away. And I feel like sometimes the faking it till you make it makes people think that it was easy when it wasn't. As you said, you didn't always have a job every single day of the week, so you did have to have your sideline thing behind the scenes, and I think that's a lovely thing to be honest about.

Speaker 24:08

Definitely, and I think like I'd be way more honest now than when you're first starting out. Like, I was in my early 20s, so like you're just figuring out life, and like just yeah, you don't want to admit any faults. But now, like, you know, the default thing, I think, when someone asks you, Oh, how are you? Oh, I'm so busy. Like, that's what everyone says. But I'll just be like, Oh, it's actually kind of quiet at the moment, and then people be like, Oh, yeah, I'm quiet too. And then you're like, Oh, great, everyone's quiet at the same time. It's like worrying if you're the only one quiet. So I'd be way more honest now, but I think just to like establish yourself when you're younger in the industry, you just felt like you had to kind of fake it to make it and like it was lots of that kind of do you remember like faking it? That show I think it was on MTV, and like just all about like perception, and I do think there's still a lot of that with Instagram and social media, kind of a perception and putting up like people are always like, Oh, you're so busy to see it on Instagram, and I'm like, Don't believe everything you see on Instagram. So I definitely think there's part of it, but as you get older, you're kind of like way more honest.

Speaker 1 25:12

I feel like success is online, it just seems like it happens overnight and it doesn't, and things look so glossy for people. Oftentimes we're seeing the finished product or the tail end of something coming to fruition, but we don't always hear like all the hard work or see all the hard work and the the failures along the way that it took to get there. And I think we are definitely in a space where people are being more honest about these things.

Speaker 25:36

Definitely. And I think maybe is it like TikTok or YouTube, you know, more vlog sale content. Not saying it's all based around social media, why are people being more honest, but like I think it's a story arc as well of people's lives and people are interested. It's just really boring if everything's the same and it's so glossy. And I think that's quite the difference between Instagram and TikTok in that sense, is that Instagram is a bit more creative and glossy, and then TikTok's a bit more raw, and then people then feel like they can be a bit more raw and open and also tell their stories and like and people can learn from that. So it's definitely more interesting to hear how people messed up or failed, or you know, got themselves back up on their feet. But yeah, it I suppose it takes a while for people to be able to open up and be that honest as well.

Going Freelance And Building A Brand

Speaker 1 26:24

Exactly. Each person does it at the time one feels right, but I feel like generally, overall, as as a society and just social media culture, we are better at giving a truth, a more truthful insight. And yes, of course, there there's the element of like making things look glossy because it's pretty and people want to see pretty things and hear lovely things and you know the aspirational side of things, but the other side is lovely too because it's really relatable. Yeah, definitely. Okay, so you worked in Stellar for those six years. What was your next what was your next move? Where where did your career take you?

Speaker 26:57

That's when I went freelance. So I kind of have built after six years, I kind of built up my name, I had kind of built up a client base, and then I went freelance as well. So I had a regular kind of a few kind of regular magazine columns and stuff like that kind of tied me over. So I really feel like that's when your freelance, even just knowing you have one income coming in at some point during the month, is good and that helps. Like I was doing loads of different stuff and just saying yes to kind of everything, and I think that's really important sometimes. That's was important to me at that time. I feel like people now are a bit more selective in terms of like the jobs that they take on, which is great if you can be that cheesy. But at that time, like I was just like, I need to make money, I need to make a name for myself. And I was saying yes, yes, yes to everything. Don't always know in hindsight if that's the best thing to do. If you want to create a an avenue in this business, you know, being selective on like who you work for, like what brand you work for is probably better. Like, I see a lot of like styles coming up now and they very much have a vision of what stylist and brands they want to work with. Well, for me, I was just like, take it all. You know, I would definitely be a bit more selective now in terms of jobs and and what aligns with your brand. It's all about like your brand now. Well, back then it was just like just working about and having fun, you know, trying to make a living. But why now it's like people are really, you know, carving out like a brand.

Speaker 1 28:30

Yeah, and a space they fit into. I even heard that from TV moving to London. And I feel like abroad people would definitely have always had that mentality more. I don't know what it is about Ireland, where like we can do everything. You need me to do that, I can do it. Because I remember going over and I was like, yeah, I used to like I researched, I made documentaries, I did this, and they're like, okay, but are you a Jack of all trades master of none type person? They wanted the master of whatever the space was. And they're like, Well, you can't be, you know, you can't do casting and researching and presenting. And I'm like, You can't back home. You know, everyone had a very specific title and role because when I was looking for jobs, it wasn't always like presenting jobs. I I wanted to work behind the scenes in production houses and production companies, and yeah, they were very caught up in the butt what's your thing? So, yeah, so I understand that whole that whole concept of like you know, being selective in the things you choose to lead you to the to the path where your end goal is. But when you're young, you kind of like look at it, Jarren. He said yes to everything, and it worked in his favor.

Speaker 29:35

Yeah, true. I yeah, I think obviously everyone's different how they want to kind of conduct their business. Also, I was just like excited about like doing so much different opportunities and kind of just seeing what's out there because obviously I had come from such a magazine-heavy background. It was nice to be able to try loads of different avenues, like TV, radio, everything. And then I went back and I did a master's then as well. I did a master's in journalism, and I just felt like you know, working in the media landscape, my degree was very much like English, media, and cultural studies. It was more theory-based rather than like kind of more practical base for media. So then when I went back to the master's, like I learned radio, and I just felt like I'm a talking head sometimes on these kind of like radio shows or TV, so it's nice just to understand the mechanics of the industry. I did that before I went into Stellar, so I had like basically then come out straight into a job in journalism. When I was freelancing the first time around, I was like, this is important to know the mechanics of media, and then when I left Stellar, I obviously had my masters, then I obviously had the experience in the magazine, and then I was like, now I want to like try different kind of areas of media as well in the styling ring. So yeah, I basically can't even remember now what I've done, what I did like so much so much. And then I did freelance for a good while, and then like I was working with Vogue a lot, different celebrities, but then I went into digital media, and that's where we met.

Speaker 1 31:07

Yeah, yeah. We met in we both worked for evoke.ie in DMG Media, and those were I think for you that was an interesting time because I think it had been a few years since you'd a good few years since you'd been in an office environment where you weren't working for yourself. How did that transition go? Because it's a different type of discipline and experience. When you're freelance, you carve, I suppose, your own hours, and you know, your day is carved to what suits you and how it works for you. You take on the clients you want to take. Sometimes you might take clients because you just need the job or whatever it might be. But how did it feel then going to somewhere that was a lot more structured and you had to turn up and you had to be at the desk and you had to answer to somebody else?

Speaker 31:49

You kind of enjoy it because I like a little bit of a routine and stuff. Like, even if I'm not essentially working, like I have an office space, and I'll always come into my like office space and like try to set up a bit of a routine. And then also it can be quite lonely when you're working for yourself. I know you're like, you know, have clients and stuff, but like you might see your clients for a couple of weeks and you might be on a shoot now and again, or it's different people, but when you're working for yourself, it can be quite lonely. So I enjoyed the whole kind of like team aspect. Being self-employed feels so grown up and scary. Yeah, like you'll never get used to having to pay your tax once a year and like always like you know, having your your your receipts and having everything like organized, like that just scared me. I was like, I just need a break for a little while and work in a job where I get paid and I don't have to worry about like everything. And I was just like, I just want to take a beat and kind of go in-house for a little while, and that's why I decided to go into the invoke as well. I wanted to learn about the digital space as well, about SEO and about all that works because it was moving so far into digital. So it's like it'd be interesting to know about that space, and then it will like always stand to you to do that. But yeah, I enjoyed our time there. It was like it was such a good bunch of people, and I think that's what you enjoy a lot about jobs, whether it's freelance or like in-house places, is the people a lot of the time.

Speaker 1 33:13

I loved, I loved love, loved my years with DMG Media, who owns evoke.ie and our friendship blossomed there. I mean, we even went boxing together, Karina.

Speaker 33:24

I loved your times of going boxing. I was never so fit. Having that routine was good for stuff like working out, like it's really difficult. Like some days I could be on a shoot at seven in the morning. I'm like, I'm not gonna go to the gym before that. And like doing a shoot is basically like a gym session for the whole day sometimes, anyway. And then like having a definitive start time, end time to your day does help like to get in good habits. Well, like some days to be up at seven, then other days you don't have to be in until 10. Like, I find that very difficult sometimes with like fitting in reigned like lifestyle and gym and like all that kind of thing. But I did love having that routine of going, getting up, going to the gym, then going into the office. It was great.

How Styling Jobs Really Happen

Speaker 1 34:06

Yeah, and then just having that community of like creatives around you who are all in it for the same reason, you know, they love what they do, it's just a nice atmosphere to bounce off people as well. And yeah, I mean, there's a lot to be said for that. I definitely miss being part of a team myself because podcasting can be quite lonely, and especially like with this, you know, chat that we're having today, it's amazing that we can do it over Zoom, but it's not the same. Like you would love that face-to-face connection. It just is easier to fit into people's schedules when you have Zoom. But yeah, when you have the the in-person connection and and the team to turn to every day, there's a lot to be said for that. And it can be lonely when it's you and your own head and you're trying to, you know, motivate yourself to to be creative or to come up with new concepts and things like this. But there's positives to each side as well as negatives as well. Let's talk about then your typical. Well, there's no typical day, I suppose, because every day is a bit different in your world. But say you're working on a brand shoot or on a magazine campaign. Talk us through how that works from start to finish and yeah, how it comes to fruition.

Speaker 35:19

So it really depends. Sometimes you might pitch to a client an idea, like maybe a shoot or like a paid editorial, or then sometimes the brief comes to you. Um, so then you kind of interpret that brief, and then there's a lot of like admin. I think a lot of people don't realize that there is a lot of kind of more like desk-based work, as well as like rolling around the chops, and a lot of admin to styling. There's there is a lot of spreadsheets, even as well, which people are surprised about tracking like returns and you know, deliveries and all that kind of thing, and money spent and budgets and all that kind of thing. So the brief comes into you, you're usually given like a vision, a mood board, and then you have to interpret that. Um, then you have to do up a deck of your kind of like pieces that you recommend, and then you purchase them, they put everything together, and then you know, like there's a lot of back and forth. It could be like you might have to re-jig stuff or look for different options, and then you might have a fitting with the client, um, and then you know, send more pictures back. Like, so it really depends. Like, every job could be different, like that's for a more commercial job. Then for an editorial, like you're kind of coming up with mood board, you're trying to find a space to shoot in, you're casting your model, you're kind of giving briefs to hair makeup, and then you can kind of be a little bit more creative with the clothing because you're not having to get stuff signed off. You have a little bit more freedom, and you're kind of just trying to interpret the trends from the catwalk, and you know, so it is totally different. And then for a red carpet, it's basically what is the event, when is it? Like, what is the message that you know you're trying to portray? What is successful outfits that that client has worn before, and it's like a lot of deep diving into people, what they've worn before, and like what are the trends are, or like what will just look good on camera. It can be quite technical sometimes as well, like hardware or TV stuff. And so you probably know in terms of colours that work and prints and all that kind of thing. Um, and so there's a lot of like online research, sourcing, and then running around the shops as well. So I did get my steps in.

Speaker 1 37:28

Yes, you have some wild steps sometimes.

Speaker 37:32

It's like 20,000, 30,000. 20,000 for like a busy prep day would be normal. So it's like you sometimes wonder why you're so tired. You're like, I don't know why I'm so tired. And then, like on shoot days, it's so physical, like you're carrying bags, you could be going upstairs, you're on your feet all day. You just keep that energy up for the team as well. Like it can be tiring, like it definitely is tiring. And then as the older you get, you're like, oh my God, this is so physical, like the job. So it can it can knock you out.

Speaker 1 38:02

Even when you finish the shoot, then there's there's the other side of it, like the returns, making sure everything goes back to the brand or the shop or whoever you sourced it from. So it genuinely is. I mean, I feel like we take it for granted when we see a beautiful picture or a campaign, but you forget just how much work goes into that.

When Returns Go Wrong Fast

Speaker 38:21

Yeah, the returns are like I find very therapeutic because you're like putting it back. And I've always learned that like whether it's pennies or Prada, like everything should go back, you know, the way you got it. Obviously, stuff happens, like makeup gets unsuffed, or like stuff gets ripped or dirtied or whatever, and like that's my responsibility to kind of sort out. So it can be scary. Sometimes you'll have budget from the client that will cover that, but sometimes you just have to eat the cost yourself, either, which can be hard. Like things happen as much as like I just go to the dry cleaner straight away or get spot cleaned and just try like figure it out because that's the scary part of it, is like making sure that stuff's going back. There's so many stories.

Speaker 1 39:05

I need to hear one. What's the what's the scariest or like oh my god, moment you've had where something's gone awry on a shoes?

Speaker 39:12

So I did a like an editorial, so we were talking fancy clothes, like designers, like Chanel's, Praddas, memes, all that kind of thing. And I was in London. I had an assistant helping with the returns, and the courier came, and the wrong box went back to the wrong design house. We could we didn't know, like he couldn't remember what courier company it was, and then I had to make so much phone calls to track down the parcel. They just took it, they didn't realize they didn't scan it, and then I'd email the brand basically saying, Oh, your courier came and and picked it up, and they were like, No, we haven't sent the courier yet. And so then they knew that I had lost the box for a while, but then we found it. But I was like, You took in thousands of euros worth of going to someone, some random guy to whatever career company it was. So then I had to like go through like what color is is uniform and like try to find it out. I can't blame the assistant, like you know, I wasn't there to oversee it. It's my responsibility at the end of the day, no matter like what happens, what would have happened? I don't know. Are you like genuinely like sweating with nerves as as you're trying to solve it? Just not being there myself as well. And I because I was in London, I was like, oh my god, like I can't sort of say having to make phone calls when I was on a brand trip, so then I have to be present on the brand trip, being like, Oh yeah, great, that's and then I'm like freaking out, yeah. That that that was one big thing that I was like, but it's funny out of your control.

Speaker 1 40:45

Have you ever had a shoot that you maybe conceptualized or looked that you thought would come together, then you saw it in person and you're like, Yeah, that happens a lot of the times.

Speaker 40:54

Yeah, sometimes you like you think something is gonna be better than it is, and then it just it doesn't come together. I always say this, and I think it's really true, is that like as much as you can kind of like put looks together and like present them to people and stuff, it's the people who want to wear them and feel most comfortable, and they have the end decision. So, especially for the red carpet, like as much as I'll be like, I really like this one, the person could pick a different look than you're presenting, and you just have to kind of let them do that because they have to live with the photos for the rest of their life, they have to look back in 10-20 years' time, and you don't want them to think, Oh god, that stylist forced me into that outfit. I wanted to wear the other one, so I always kind of let people choose at the end of the day what they're gonna wear. So sometimes it it's the right decision or it's the wrong decision, but they're happy with the decision and they made the decision, so I think that's really important. As much as I correct and I will kind of give it an opinion, you have to be comfortable in what you wear, it will show in the photos, and then they'll just like come back to haunt you, like or haunt them, which is worse.

Speaker 1 42:05

Do you have a favorite or like most proud red carpet moment from when you've dressed someone for a big event or I loved the outfit that Vogue wore this year to the Brit, it was the yellow.

Speaker 42:18

And speaking about forcing people into it, not that she wants to be forced, but we went back and forth whether she's gonna wear black or the yellow. And I was really like, I think you should go for the yellow. And she was kind of just unsure she wanted to go for the black, and then she ended up like literally about two hours beforehand going with the yellow. So I didn't force her, she made the decision, she came around to herself. I said I liked the yellow, and she went in the end, she went with it. I think that was the right decision. I think it looked obviously unbiased, looked gorgeous. Just doing those big red carpet things is just so exciting, but nerve-wracking at the same time. I just hope nothing goes wrong, there's no ward-up malfunctions, like because you can't be there most of the time, you know. You just have to let it go. So that that is the most nerve-wracking and exciting. And talking about instant feedback, like generally, people will just give feedback straight away.

Speaker 1 43:07

Yeah, exactly.

Speaker 43:08

The day you know comments. You're like, okay. Whether you want or not. I don't really look at them though. I can't most of the time they're gonna be negative anyway.

Speaker 1 43:17

So yeah, I mean, yeah, but we just ignore those people. Who has like what kind of person decides like decides in their head I'm gonna sit down and write something really mean? Not not not our kind of person.

Speaker 43:31

The thing is, you know, fashion is very subjective, so I get it. So, like, I would love a certain look, someone else would hate it. Just don't voice it. You don't have to, or you can if you want, like, it's your own line. I don't know if people really understand the inner workings behind a look, you know, as in it's not so much political in Ireland or the UK in terms of what people wear compared to America, where there might be like brand deals and people getting paid to wear certain things and all that. In Ireland, you have a little and in the UK, you have a bit more freedom. But like, you know, people might feel a sticking away one day and they want to cover up. There's a lot of reasoning why people wear something. And then just to like look at something so flippantly and say, oh, you know, boring or whatever. But how we get dressed, it's it's it's you know very personal and uh complex.

Speaker 1 44:18

Yeah, I mean I've had times in in my um my twenties where to go anywhere, it would literally be like changing my outfit 10, 15 times, working myself up into such a headspace that then I don't even want to go out at all. But it's a confidence thing, it's how you feel in your body type thing, as you say on the day. So yeah, there's there's multitude of reasons why someone might step out wearing what they're wearing, and yeah, to flippantly comment isn't so nice. But I do remember years ago for the VIP style awards. I can't remember, I was nominated twice. I can't remember if I was nominated that year, but anyway, I worked in RTE as I said earlier, and my job was, you know, very busy day. I did not have time to go shopping. The show was for seven to eleven year olds, so I wasn't exactly glam every single day. I was mostly like in jeans and t-shirts or jumpers or my little favourite floral dresses and and boots. Like that was my wardrobe, and somehow it still is. But I remembered the pressure of like, oh my gosh, I have to dress for a red carpet and I don't know what to wear. And my mom and I went shopping and we bought a Ted Baker dress, okay? It was white and it had like a blue and white floral effect, but it was it was it gave me a really nice shape. It gave me a really nice shape at the time, and it was because I was feeling a bit insecure in my skin that I ended up going with it because of the way that it was like white on the sides, and then the the the pattern in the middle, it just made me look really slim. And I was like, okay, I'm gonna rock this. It wouldn't be normally what I choose, but you know, I'm gonna own it. And then, you know, whoever it was at the time, can't remember the publication. I hope you weren't in the video, but maybe you were. But they did like a little critique on you know, people walking down the the red carpet, and they were like, Yeah, she looks like Delph. She looks like Delph, like China, yeah, like China, yeah. She looks like Delph, she looks like a T. You know, I'm just kind of like, you know why? Right. I just remember because I was only like 23 and it really like affected me. I was like, oh, well, I was only doing my best to, you know, with the time I had and the budget that I had and the knowledge that I had of where I could go shopping. So yeah, I just remember that really affected me because I was like, I thought I looked cute.

Speaker 46:38

Yeah, I so I'm not into that kind of um commentary, commentary, like the fashion police kind of thing. Like, I'm just not into it. Like, you know, sometimes I might be asked to comment on like the Oscar's red carpet, but like I will talk constructively of what I think about the outfit, but I'm not gonna be saying like anything super negative, and I I think sometimes people don't want that, they want the drama, they want you to be like ripping stuff to shreds, and that's like not my style. I think they hate the best and worst stressed, don't like hate those kind of terms as well.

Speaker 1 47:13

It's just like Ireland's just too small, like you're gonna have to see that person.

Speaker 47:18

And also, I is usually the worst dressed kind of articles always get more hits because people just love the tea.

Dream Clients And Style Icons

Speaker 1 47:25

But I just yeah, well, we we we all like engaging with those articles sometimes, but I just don't want to be part of them, okay? I don't want to appear in it and I don't want to comment on it, but I'll click into it occasionally myself. But here's the thing Angelina Jolie isn't gonna be like Karina. I can't believe you said that about my dress, you know. Yes, whereas Arnold, of course, you know, someone who lives here and it's a small industry, they're gonna be like, girl. Yeah, I know. I know I don't want to be excommunicated or on someone's like on someone's bad. You can tell me later who said it. I can't do you know what? I can't even remember. Well, I think I do remember. I it doesn't matter. Who who is your dream client to style? Is it someone who loves taking bold chance? Like is it Joanne McNally and Vogue because they're kind of bold with their style, they'll take a chance on things, or do you not have a dream client?

Speaker 48:20

I honestly vogue is like she will take chances as well, she completely will and loves putting it. And so just Joanne. Joanne challenges me to kind of like be bolder, and then I love Loa, she's a singer and actress, and I love working with her as well. She's a great client, she's really good at like pushing, trying different things. Her energy is just so chill, like she's just real calm, um, and such a lovely person to work with. I I love her, and I love having all different clients that are doing different things, and then I have another client called Valeen Kane who's an actress. Like, I work with her kind of on and off, and she's a great one as well. She's really kind of like really high-end. She's just like she's very good at pushing and kind of like going for more like editorial kind of pieces, which I love. I love having like Vogue loves like Vogue and Duane kind of have a bit of crossover in a style in one sense, like Vogue loves bright colours as well. Like the Mai likes similar things, um, is really fun, but then she can turn around and like obviously the Baptist look that we did was like black and kind of like a little bit more like Wuthering Heighty vibes, and like it was a bit different for her, so she kind of likes changing it up a little bit, and a Joanne just obviously is so fun with her style, and then Loa can be a bit more kind of ethereal, and then Feline is like like it's so nice just having loads of different clients in different kind of styles and like playing around with that and really like burrowing deep into their aesthetics and kind of like finding super cohesives, so yeah.

Speaker 1 49:59

I can only imagine how fun that is. Is there someone who is in the public eye, maybe outside of Ireland, or we can include Ireland as well, who you think just nails it every single time they step out?

Speaker 50:11

I love the way you say step out, it's such an invoke TMT term. Sorry, every time they are out in the world. I'm trying to think of different ways of saying step out, but like it is the one.

Speaker 1 50:25

It is the one that kind of like well, every time they make a public appearance for you know, for an occasion where they're being photographed. I feel like that's what stepping out is.

Speaker 50:35

Yeah, true, true. Um like I really feel like it changes all the time. Like, as in, you know, Zadeya is obviously having her moments at the moment with the the drama, like her looks are insane, like Law Roach obviously doing Red Club, and then Tiana Taylor, I thought was amazing on the right carpet with her Oscar run, and then like menswear is obviously such a big moment that I loved Andrew Scott's kind of run of looks. Paul Metzgall obviously looks amazing as well from an Irish perspective. From who I love looking at, like I'm always on Pinterest or Instagram of people. It's so cliche to say it, but like Alexa Chung still will always be a number one for me just because I just love how effortless she looks in terms of like always turning something on its head. I hate being super, super, super dressed up, like it just gives me the ick. It's just my own personal thing. I love dressing everyone else up to the to the lines, but for myself, I just need one thing off. And I think Alexa does that really well in terms of like she'll do a flat shoe with like you know, a gown or like she just changes things up so much, and I and I just love that about her in terms of getting tips that way of how to kind of like reinvent her style to make it a little bit more grounded or feel less dressy, I think. And that's why I always gravitate towards kind of her style in terms of dressing up.

Speaker 1 52:04

Yeah, some people just are so cool and they just get it right, they have the the eye, they maybe I don't know, like I I don't think that way. Like I I I can't think laterally when it comes to clothes, and I wish so much that I could, but sometimes I feel like when I say I tried to replicate an Alexa Chung outfit, right? It just looks so wrong on me. And I often wonder, what is that about? Is it a confidence thing? Is it just that it's not my essence or my style DNA? Like, how do you find that style DNA of what's what looks right and feels like you? And and how can you embrace trends and not look silly like I do? Because I feel like anytime I try and dress trendy or say like embrace like boxier looks or more streetwear, I just look ridiculous and I don't know why. What am I getting wrong? What are we getting wrong?

Speaker 52:53

I think like a lot of the times, like if it's like a copycat look or just trying to recreate it completely, I suppose it's taking elements of it and like kind of working into the pieces that we have. Like she's obviously just really distinctive, but like her style, it's her hair, it's like you know, it's just all the different elements to it. And then I think like it is probably a confidence thing as well. And also I think you know, she's dressing to be seen for the red carpet, or you know, so it might be as practical for every day, and that we have to think about our lifestyle and what works, which is so boring to say, is like what elements of you know, clothing that would work that is comfortable for the lifestyle. But maybe it's just taking some elements of the outfit, like the colour combinations that she puts together, you know, the kind of style of jacket or the kind of style of jean or kind of the the flat tube, but the right flat tube of the outfit. So just like taking more elements rather than the head-to-toe look, I think.

Speaker 1 53:55

Got you. Do you think social media actually has made us be a bit more adventurous in general with our style because we're being exposed to so many different ways of styling, you know, like even just a simple scarf. Like you don't wear it around your neck anymore. You can wear it as a belt, you can wear it as, you know, as a accessory that really elevates a look in a whole new way that we would have never done before. Like you can wear it as a top, who knew?

Speaker 54:18

Yeah, like I definitely think there's more access to different ways of wearing things, but then I feel like social media has nearly made it more uniformed, you know. Like before people would style stuff distinctively, but then not everyone would see that way, and then now people are just copying things copying things, and then everyone just looks the same. I actually think social media has made stuff when things go viral. It puts you off things then, styling things in different ways because then everyone is doing it.

Speaker 1 54:47

Like so, social media is killing our individuality in terms of style.

Speaker 54:52

I think a little bit. I do think there's a revolt this season. It feels like that people are kind of being more personal style personality injected into there's a lot of minimal, there's a lot of like monochrome. You can see the things that are gonna go viral that everyone's gonna go for. And then it just starts to just look the same a lot of the times. I'm victim to it too. Like I will go for stuff and I'm like, oh, I love that. Sometimes I can get it out of my system if I use it in a shoot, and then I'm like, oh, that's fine, I can move on from this trend. But I feel like maybe because we're bombarded by so many images, we're coming even more disillusioned, and then we just keep going for the same things and kind of feeling like we're dressing the same because like it's way more overwhelming now getting dressed. I think.

Speaker 1 55:39

Absolutely, and I that's probably why why I'm feeling it too, because I'm consuming so much social media and I'm like, that's what I should be dressing like, but then that doesn't suit me. So what do I do then?

Speaker 55:49

And it changes so much, and then you're like, Oh, I should be dressing like that, and now it's different, and then this is the next in item, and this and like honestly, being in fashion, like I am part of the problem in the sense of like, you know, at the end of the day, styling is you're selling it's a commercial thing, you're selling product as much as you wanted to dress it up and make it look fancy, you are selling clothing. So I am part of the problem too, and in put pushing that narrative sometimes, but then I also try to help a little bit and be more instructional.

Speaker 1 56:20

I was gonna say, I feel like you aren't part of the problem, actually. You make things more accessible to day-to-day life. So, like, even just the the reel you put up about barrel jeans, you know, and what shoes to wear, and like you want to you don't want to get seven pairs of barrel jeans, you get one that will work for your, you know, everyday life that you can dress up and dress down. So, yeah, okay, while you are definitely embracing trends, you're doing them in a way that's actually really accessible and sensible, as opposed to like buy this, this is great.

Speaker 56:50

Yeah, do that sometimes as well. Because buy this, I like it. But it never cares that I don't like myself, and I think it all relates back like because I thought about that a couple of years ago, like in terms of like it is very important to have a presence on social media, like that's maybe 10 to 20 percent of my job, but it is important as a stylist. You have it's like it's like a mood board where it's like your portfolio. And a couple of years ago, like I really looked at my social media and like, why am I not growing? We talked about what I loved from magazine work, and I love doing the fashion pages, like putting books together and writing the instructional pieces and all that kind of thing, and then I was like, that's what I started to do is like taking that element from the magazine and reworking it for like you know, a social media landscape and platform, so that instructional advice, and that's where I really found that people engaged more, and not that you're chasing engagement or chasing followers, but it's also content that I like to consume as well and I like to make. So I really felt like then I was like, oh, I found what I am supposed to do on social media in other terms. So I really enjoy that element of like, here's some inspiration of like how to make your wardrobe work harder in terms of if you are gonna invest in the barrel jeans or whatever trend, here's how to like because you should be wearing your clothes way more. I would say if you're buying something, you have to think about at least three different ways how you're gonna style it before you even sort of purchase it. And like three is like limited, but like at least three. So I just love showing all the different ways that you can wear stuff and that make it work for your wardrobe.

Speaker 1 58:28

I love those videos too, as well, because sometimes, as you say, like we see a trend so much, we jump into it and we buy the thing, the barrel jean or whatever it might be. And then you're sitting at home and you're like, Oh, what do I do with this? So I love seeing your videos from that perspective as well, because it's like, oh, I have this now. I actually have a better idea of how I can style it so that it sits better on my body or it doesn't look as awkward or works really well. Do you have to be disciplined with yourself? Because you love fashion so much, you know, we all have a trend. Do you yourself as a stylist find that you have to be really disciplined that you're not spending all your money on fashion and clothes and whatever the latest trend is?

Speaker 59:08

Yeah, definitely. I think like anyone, you have to kind of watch like what you spend. But then in one sense, I'm like, I might spend on other things that other people are spending on, and it's kind of my job. So then maybe yeah, but like I also think it's important to kind of invest in in things as well and have like classic pieces and then mixing in with the trend things. So yeah, I might like dip my toe into certain trends, but then like make sure that I can get the wear out of them. And then like sometimes things when things go viral and like you kind of really want it, then if I've invested in it, like I keep it, and then like in a year or so, then you can bring it back out and when the popularities die down. So I think it's just about picking pieces that you know you'll wear and that you'll love, and that you can see yourself wearing like further down the line. Like trends are great to be aware of, but just knowing that you will wear it in a year's time, definitely think it's really important to think about.

Speaker 1 1:00:05

If if someone is maybe looking at their wardrobe and they want to reinvent it a little bit, maybe inject something new into it, like what are the three key pieces that would make for a sound investment that they will get the wear out of that that will work with multiple looks, whether dressed up or dressed down? Is it a specific type of shoe? Maybe it's a statement bag, like what are the three things we should be investing our our money in if we're looking to make those investments?

Speaker 1:00:33

So I'm very anti the capsule wardrobe in the sense of not having a capsule wardrobe, but a catch-all capsule wardrobe in the sense that there is these pieces that every person should have in the terms of like every capsule wardrobe will be completely different. So your capsule wardrobe would be different to my capsule wardrobe. So, like trying to name items that I think everyone should have. Like there is certain ones, obviously, but then there'll be different people might have different ones, and then also, you know, everyone should have like this noodle-based capsule wardrobe and stuff as well. And you're like, what happens if you love colour? Your capsule ward could be full of colour, but like obviously, I think a great pair of jeans, something that you can just throw on is great. Like in Ireland, we have to be realistic. I think a coat can make and break an outfit as well, and then shoe-wise, like I see what I love could be different to other people, but like a ballet flat I'd always go for, or maybe a loafer or something. So I think it is difficult, but maybe a coat, maybe a jean, and then like a good top, like whether it's a blouse or a good t-shirt that you can wear or knit, like it's really difficult to say. I think it's really hard. It's what works for your wardrobe that will knit your pieces together. I think that's really important. And I think people get bonded out thinking they need these defining items that will fit in their wardrobe when they might need different items than someone else.

Speaker 1 1:02:01

That's true. I will say, like, the jeans front, like I would have never never, you would have never seen me in jeans or any trouser or pant before. And I think it's because I probably wasn't I wasn't investing in the correct maybe brand or style or whatever it might be. But recently I made it my mission to find a good pair of jeans that make me feel good with like a great cut, and I found it. And oh my god, it's changed everything. I actually really love wearing a jean now.

Speaker 1:02:31

What jeans did you go to for? Because yeah, I've never used jeans, so like I can't wait to see these jeans.

Speaker 1 1:02:36

I went for like a straight leg jean. I okay, so I was in blanche, I knew I was doing a TV appearance, and I was desperately trying to find something to wear. I wasn't finding anything that was like suiting my you know, my go-to or my style. I just think those types of clothes aren't in the shops, they haven't been in the shops for a long time. So I was like, okay, maybe jeans and a blazer. Now I didn't end up wearing it, but I literally must have tried on jeans in every single shop. And I found a pair of jeans and salsa, salsa jeans, so amazingly cut that uh it was just like a no-brainer. I'm like, I've never felt this good in a pair of jeans in my life, they're amazing, and they didn't break the bank, but they were definitely more spinny than what I would have spent before. And a huge difference. Like the cut on the waist around the bum. I have a bum. So I feel like the type of brand that they are, maybe they embrace curves, they enhance.

Speaker 1:03:29

I think they do. Yeah, they're good for yeah, they're all about the bum and jeans, like making it more quirky and stuff. Yeah.

Speaker 1 1:03:36

And similarly, I went to MS and I I bought myself a barrel jean with like a leopard print, I don't know what they are, like a leopard print almost like almost giraffey pattern. Ah, Chef's kiss. The cut on them is phenomenal. The material has structure, but it's still soft and lovely to wear. Like, I think I've entered a whole new world, Karina.

Speaker 1:03:56

I'm wearing barrel jeans for Marcy's wet's today, and they like are my go-to. And I think that's what it is. It's the reliable pieces that you know when you wake up in the morning, you might even feel your best or just want to be comfortable. It's those items that you constantly just go to. Like, it's really important to maybe invest in them a little bit more because wearing, oh, sorry, you're wearing them a little bit more. So, like, you know, you want to get the wear out of them. So, like, you know, going for your salsa, like spending a little bit more on that, that's kind of like, you know, important. I think it's just what makes you feel comfy and good as well. So important.

Speaker 1 1:04:31

Yeah, I think I'm over fast fashioned. Not that I can afford to be, you know, spending money on on better quality, more luxury brands day to day, but I do feel like in those key investment pieces, it actually, and I've seen it, it makes a huge difference. It feels it feels nicer.

Proud Moments Hard Moments And Advice

Speaker 1:04:47

Yeah, it's the consumption, I think, is like it's hard, like it's consume, consume, consume. Even like I think you know, with vintage and stuff of that, like even the secondhand things, it's still like making you want to consume more, you know. So the consumption is probably a problem, is a problem as well. People wanting to buy, buy, buy, whether it's second hand or new, you're still consuming, you know. So it's that mindset.

Speaker 1 1:05:13

Before we wrap up, I want you to think back on your career and what has been the proudest moment to date.

Speaker 1:05:21

I do know what I really enjoyed last year working with Dane Penelope Wilton, who was in Downs Abbey. She's 79. Not that it's about aged, but I'm just saying she's like, you know, had a ton of experience. She's a Dane, and I was like really excited to just to work with different ages, different people, like, and that was such a wonderful experience. We got to shoot in the Savoy Hotel for two days with the whole cast of Downton Abbey, and then working with her specifically. I went to her house for the fitting, you know, before even started working, she was like, Let's have a cup of tea, and she was just Lady a Dane. That was a nice experience just to work with someone totally different for something totally different. And Dane Tabby is massive like following, and she was a dream to work with. And to have that experience of doing like a global editorial for Dane Tabby was incredible. And also, she couldn't have been a nicer person to work with.

Speaker 1 1:06:22

So so cool. I do find like the bigger the star, the nicer the person. But also, you also had someone who was so seasoned and probably had really great stories to tell as well.

Speaker 1:06:31

Yeah, exactly. She was great. And also, like, you know, like I'm not reinventing her style. You know what I mean? She has, you know, her signature style. I'm just there to like elevate, help, time poor, pull her pieces that she mightn't have found. And, you know, it's so wonderful to be able to just work with someone like so seasoned and kind of like add a little bit of sparkle. And you know, but like she's well able to dress herself, like most people, but you're just there to kind of like push them a little bit out of their boundaries. Or you know, we put her in this really cool Irish designer, um, Anne Tate. It was kind of like a sheer kind of blaze. At first, she was just like she was warming up to it, but then like it looked amazing onto her. Like it was something that she mightn't have picked herself, and that's what I love is just like presenting these curveball options, and then when they go for it and they're comfortable enough to go for it, like that's a really good feeling.

Speaker 1 1:07:28

And then in the same vein, I want to ask for what the trickiest period or the hardest moment in your career has been so far.

Speaker 1:07:37

Oh, I don't know. I think there's always challenging moments and when you're self-employed, like rejection is a big part of it, you know, as in and feeling like you're comparing yourself to other people, particularly on social media. So I think there's always definitely challenges to it. And just being able to pick yourself up and kind of hustle again and send the email, even when you've been rejected before, or you know, co-call people and hustle is it is always hard. So I think there's always challenges. There's never I I don't I can't think of one particular challenge that stands out to me. I always think there's just many challenges all the time.

Speaker 1 1:08:17

Did you ever regret going freelance? Or was there a moment when you went freelance and things went quiet and you were like, fuck, like what did I do? I need to go back, I need to go back to the office, I need to get someone to do my every year.

Speaker 1:08:30

Every month, no, every year, like every year around a certain time, it gets quiet. And I'm like to my husband, Anthony, I'm always like, Oh my god, so quiet. And he said, he always goes, he said that last year again. This is this is your spiel that you say every year. Um then you're like, is it me just quiet or is everyone quiet? And then when you hear that everyone's quiet, like you're like, okay, breathing a bit of a sigh release, you're like, it's not just me. Um, I'll never get used to the ups and downs. I suppose I think maybe a good way of saying a challenge would be is not associating work with your mood in terms of when you're self-employed, being like in good mood when you get a job, and then being a bad mood when you're quiet. That's hard to regulate because you're like, you know, there's ups and downs. So then you shouldn't associate the mood and getting work because it's just as hard. But sometimes you can be like worried and anxious if you're quiet, and then suddenly you get a job, and then you're elated, and like just realizing there's ebbs and flows to it, and not feeling like being like changing your mood to to work, like it's it's that's something that I've learned, and it's a challenge.

Speaker 1 1:09:41

I have a solution to the quiet period. Two podcasts. No, go away on a holiday. Oh, yeah, true. It's gonna be quiet every year at the same time. Just go somewhere beautiful and just oh but maybe it'll be different, you know what I mean?

Speaker 1:09:58

You're never and the quiet time sometimes happens at different times, not always the same time. So, like, but every year I know when it's a bit quiet, I'll say the same thing. But yeah, I know that's what I have to learn. That is my challenge, is that is when it's quiet, just to not panic and just chill out. Because then when it gets really busy, you're like, why didn't I rest when I had the time?

Speaker 1 1:10:19

I know that's the grass is always greener when you're tired. You want it to be a quieter period. When it's quieter, you're like, I need to be working more. And finally, just advice for anyone who wants to follow in your footsteps and be a stylist, a fashion journalist, a com a person who makes, you know, a person who makes fantastic English there, Diana. A commentator on TV and radio. Anyone who wants to follow in your footsteps, what advice do you have?

Speaker 1:10:47

Um I think it's very relationship building. I know I said that at the beginning, but it also is it's connections, it's getting in touch with people, it's shadowing people, assisting, it's finding potential clients, it's hardcraft, hard work, and having fun, being authentic, being honest. Yeah. So I guess that would be my advice.

Speaker 1 1:11:08

Yeah, put yourself out there and put yourself out there, yeah.

Speaker 1:11:11

And be a good person. And be a good person. Sound, good at your job. You don't have to be amazing, it'd be good and reliable, I'd say, is my advice.

Season Wrap Thanks And Reviews

Speaker 1 1:11:21

You live such an exciting life. You also work very, very hard. This is what we're learning. Uh, Karina, thank you so much. It's been such a pleasure to have you on the podcast. Thank you so much. Well, there you have it. Season one of the Delusional Optimist podcast is signed, sealed, delivered, and officially wrapped. Thank you so much to Corina for making the final one so interesting and for letting us have this beautiful conversation. I will be back again in a few weeks with season two, and I promise you it's going to be worth the wait. In the meantime, don't forget that there's lots of great episodes for you to go back and listen on. Maybe recommend the podcast to a friend while you're having a listen, and don't forget to leave a review as well, because that helps the podcast be seen by more people, and um that would really mean a lot to me. Um, you can always reach out to me via DM as well on Instagram. I love having the chats. And in the meantime, I will be back again soon. Take care. Bye!