#ICanDoThat Episode 16 with Bruce Estevez

In the 16th episode of #ICanDoThat Jonathan Joseph and Rachel Elspeth Gross, interview Bruce Estevez. Little Red Fashion introduces Little Red Village and its first interview series #ICanDoThat on instagram. Our #ICanDoThat campaign is a one-question interview for our IGTV that asks industry professionals across disciplines to respond to the question: "What advice do you have for a kid who wants to do what you do within fashion?"


The video of this interview can be found here!


Live: August 5th, 2021



Jonathan Joseph

Rachel Elspeth Gross

Bruce Estevez


Jonathan Joseph  00:03

Hello, everyone, welcome to another installment of our Little Red Village program here at Little Red Fashion. I am Jonathan Joseph. I'm just going to take a moment to get Rachel here and our amazing guest for today. You months sec. Hello, Hello. How are you right here?


Rachel Elspeth Gross  00:28

Very well. How are you?


Jonathan Joseph  00:30

I am wonderful. And hello to everyone joining us for another installment. Very excited by today's guests. Let's try and get Bruce here. Oh, hi. Fabulous. Let's see if the technology gods are with us today. Thank you. I didn't find it. Let's see every other Bruce. But let me do once more for good measure. Come on Instagram, no Whammy no Whammy no me every time we do this, it reminds me of that.


Rachel Elspeth Gross  01:22

There we go.


Bruce Estevez  01:22

Hi. how's it going?


Jonathan Joseph  01:24



Rachel Elspeth Gross  01:27

Magic. I love it when all the stars align. Yes.


Jonathan Joseph  01:31

I love when Instagram just works.


Rachel Elspeth Gross  01:34

Yes, it's a miracle. Oh goodness. Um, hi everyone. Um, so today we are talking with Bruce estivesse. He is a very talented fashion stylist and content creator, I believe mostly located in New York City or and or Miami. And we are super happy to have you here with us today. So thank you for making the time.


Bruce Estevez  01:57

Thank you. Thank you for having me. I am so honored to be here.


Rachel Elspeth Gross  02:03

So we usually start these conversations by asking guests How do you describe your job? What do you think of yourself as?


Bruce Estevez  02:12

I my passion and what everything sort of comes down to what I think every decision comes down to is how can I in whatever situation I'm in, help. Whoever the client is, whether it's in a retail situation, whether it's the talent in a photoshoot not only look their best, but sort of feel their best to embody whatever we're trying to get across. Because I think everyone sort of been in that situation where you put something on and I know I have and it just doesn't feel right, it doesn't fit, right. So it's sort of changing the mindset alongside the look.


Rachel Elspeth Gross  02:52

That makes a lot of sense. Um, I know when I go someplace I pack two outfits just in case, sometimes the one you tried on in advanced is not the right thing that


Bruce Estevez  03:02



Rachel Elspeth Gross  03:03

It just happened. Um, so when you're doing a shoot like that, for whatever reason, who do you think sets up that goal who creates that mission for the for the project?


Bruce Estevez  03:17

You know, for me, I think it has to be sort of a collaborative effort. You know, anyone can have one sort of idea, but you have to then convey to a team of people what you're trying to get across. So, for me as a stylist, I want to not only have ideas at the ready  references, but also I need to be able to understand where the photographer's coming from, what their eye is like, like how they see things. I've recently sort of picked up a little film photography myself for fun, just really, so I can understand better what photographers are seeing through the lens, and how that part of the like the creation processes is, and then also being able to convey that mood to the talent, the hair and makeup, prop and set designers if that's applicable, you know, sort of it's it's amazing. It's about communication and understanding, almost as much as it is putting outfits together.


Rachel Elspeth Gross  04:16

We like teams, and nothing ever that's really good I think ever happens because of one person and demystifying that making it clear to especially the next generation of people who are going to work in fashion that a team is much more powerful force than a singular person regardless of how good their ideas is. That's a big deal.


Bruce Estevez  04:37

Completely, completely. Someone once said to me that you know, like a mediocre idea that inspires people is possibly more powerful than something that is an amazing idea, but no one gets. So and it's for me and my thinking of that And sort of keeping of that phrase is not necessarily the mediocre part. But it could be something like a more commercial sort of project, and how do I bring an elevation without alienating the target client? Like, how do I bring something slightly different that other people aren't doing? Like, what? What is my take on it? And how can it be our take, and it's, you know, it's very often, the best sets that I've been on are where the whole team is open to communication. So you know, like, the hair artist might say, you know what, this looks good. But I need to jump in and fix this, or what was preset just doesn't, it doesn't work as well as you had thought as it did in the fitting. So just being open, and not not ever taking anything personally, because, you know, in this business, I think that sometimes criticisms feel so personal, because it's, you have to be passionate to do this. But it's it's never something about it's never a you know about someone's personal talent, as it is, what the situation is in this moment. You know, I think that was something that took me a long time to learn.


Rachel Elspeth Gross  06:19

Oh, yeah, thats like translation to me. I mean, if you have an idea of regardless of the quality of that idea of being able to explain it, or make it open enough, the people with different skill sets, different kinds of artists and crafts, people can use their own language, to as a team create that overall goal. And gosh, how magical is that?


Bruce Estevez  06:41

It's pretty amazing. It's pretty amazing. There was another something I read, it was actually in regards to how the cruise ship companies have been running for the last year. And the quote was from one of the CEOs and it had said, you know, we're not, we pursue, we pursue perfection, but in that be open to excellence. Because it's, well, nothing's ever perfect. But you can find excellence, it was some were good, something like that. And I was like, that was powerful. You know, and it's like, Don't let the setbacks and get to you, because there will be setbacks. And it's more of how can I take this as a learning progress? Like moment?


Jonathan Joseph  07:28

Yeah, absolutely. I mean, that ability to and I think this is a really important skill for especially children to develop is that creative tenacity, where it's not going to work out as you may be in business, but that's okay. That's part of the process. It's part of the magic, and it's part of what will make you stronger and better able to articulate your voice another time, the next time, better and better. And I think, for those of us in fashion, in particular, we are uniquely collaborative industry at every step of the process, from concept commercial, you know, and I think part of what I hope it was what we do at Little Red Fashion, is that we're able to teach our kids different ways of tackling that plateauing. For example, let's say you're banging out really well. ideas, you know, in a row, and then all of a sudden, oh, my God, I just didn't hit and what happened? Why did that happen? And to not give up and just keep pushing through that because they're not all gonna be hits. Important. And I think that for stylists, especially you guys, really bridge so many meta creative gaps on set in the moment, really tend to have that jack of all trades bit. Where a lot of stylists I know, you know, like, Oh, I guess I'm helping with filling in here. I'm fixing the hair here. And obviously, they think medic creativity is something that a lot of these interviews come back to. And so I was looking at sifts through what you do get out of a funk headset, and you're like, it's just not working. What do you do to push through that map? If you had to, if you asked me like, Hey, I'm having a struggle with getting through that. What advice would you give them?


Bruce Estevez  09:04

Yeah, I mean, and that is, that's very real. That's very serious that it still happens. It's something that it doesn't stop happening. It's it's a learning how to just sort of take yourself out of the equation to being able to take a mental step back and say, This is what I need to take care of right now. Especially as a stylist, you sort of set the tone on on set. And if you're frantic and if people can see that you're, you're nervous, then they're gonna get nervous, you know, then the talents gonna get antsy, then, you know, this, like it just it builds up. But if you can keep that sort of that gravitas, that grace under pressure, don't let them see you sweat. And that's much easier said than done. I'm the first to admit that like you have to it's you have to be Learn how to do that in your own way. Because everyone, everyone works different, everyone's minds works different. And you have to do like a little learning of yourself. It's, you know, just being able to I mean, even back in my retail days, it was the saying was, walk on the floor, run in the back, like, don't let them see you freak out, keep that in your mind, take a mental sort of step back, be able to say, this is what I need to get done. Once I get through this. Once this is wrapped, then I can freak out and cry for a week. And about like what happened. And sometimes that happens, and it turns into tears of joy. Maybe not a week, but you know, freak out afterwards, just hold that to the side? Oh, yeah. Because otherwise it doesn't build up. And also in those moments of, sometimes when things don't hit, you have to try those out. Because it might be for different reasons. And you can't expect other people to be able to always vocalize what they need. You know, like, you know, they might, someone might just especially if it's a time constraint, it's I don't like this. And it's not the nuance of being able to say why. But you have to try those ideas, because the new learn from them, and then you you know, for the next week, you might think of Oh my god, you know, you take your money, I have to, I still do it, I take myself out of the mindset of, it's not that I did this wrong, it's that I'm going to do this differently next time, whether it's the layering of a piece or how I'm going to be set, you know, I'm very new to having assistance on set with me. I'm very used to just sort of, you got to do it all yourself. And I'm learning that being able to delegate even like small things. It lets you as the primary focus on the big things, but you also have to know what needs to be done. You know, I'm a very interesting case where I didn't come into styling through assisting stylists, I, when I was in high school, I took fashion classes in high school. And then I took summer and Saturday classes at fit in New York. And at the end of one course, I had a professor. And she said to me, You don't want to be a designer, you're going to be stuck in the back room, you're too much of a people person, go get a job in a nice store and see where it takes you. And it sort of started this progression it was you know, like, without realizing that I wanted to be a stylist sort of using my role in a luxury sort of setting as a personal shopper. Because how do you differentiate yourself in that sort of situation from this 16 other people also dressed in black sweaters and slacks, you know, they're they, you know, how do you evoke your personality, and it's how you connect with people. And that sort of took me through sort of many luxury retail stores for many years. And I was fortunate to always be the youngest in a non threatening way. So I was able to learn so much. And then that led me to styling, you know, more personal styling and the editorial styling. And it's all the things that you learn along the way even in when in the moment it doesn't make sense. You know, it's like, why am I steaming this? You know, I want to be doing this.


Rachel Elspeth Gross  13:45

So important, steam.


Bruce Estevez  13:47

Yeah, yeah even knows it shouldn't have to be steamed. It makes a difference. You know, the heat activates the fabric so when it's put on like it, that's amazing. You know it has a different feel it's how it's supposed to feel and then even in a photoshoot then the talent has a better understanding of what you're going for. Because they're getting the same full experience as you would in a situation I've had models buy things off of their bodies in photoshots.


Rachel Elspeth Gross  14:18

Buying Yeah. I styled fashion shows when I was in fashion design school and buying was not always to be nice. I'm so did you have like a breakthrough moment? Was there a point that you really knew that this was where you wanted your career to go?


Bruce Estevez  14:41

Um, yes. I so you know in retail, I spent many years at Neiman Marcus and from there I went to Chanel 57th Street in Manhattan and then Prada of Madison Avenue, and it was amazing and like it just such a education. But it there got to be a point where it was. I don't want to do this for the rest of my life. And I needed I knew that I needed to make a change and figure something out. So I actually I applied for a job at Van Cleef and Arpels as a receptionist. And almost as if on a TV, I walked in, and I was like, I will be the worst receptionist you possibly hire. Like, anything that you're advertising that you're looking for. That's not why you're hiring me, like, you're going to hire me because I have this background and this ability to connect with people. And I can help you completely change how your customer sort of services, you know, I learned how to use the fancy cappuccino machine and made drinks and sort of, you know, did that for about a year. And I had already started doing you know, styling photoshoots for like local New Jersey magazines. 201 magazine, I still work with every year I just had a cover come out and very excited for you know, because it's still being engaged into the community that I'm from and come from and sort of have that as I do other bigger things. And but during that year, it was really, what do I want to do. And I was like, I want to be a stylist, I still want to be able to work with beautiful things, I don't want to lose what I've learned. But I also want to use all of this knowledge that I've learned, you know, in a different way. So I was approached by morphew which is a New York based fashion archive and they were looking to expand their retail so they brought me on as like their first full time sort of salesperson stylist we came up with the title of stylists because that's really that's like what I do. You know, it's it's not necessarily about just the selling it's about building relationships. It's we just opened a our own retail location in Miami Beach at the Fina Curio find a bizarre. So being able to use all of the things that I've learned along the way, it's it's amazing that I get to use the knowledge for good and help people find something special in one of a kind. And then you know, depending on the project, sometimes I'm able to, you know, either, you know, pull things, and include these incredible pieces of fashion history, like I've always loved vintage fashion, the history of fashion, especially 20th century fashion and the wild roller coaster. I don't use these references, I would use references like calling for share while I'm at Neiman Marcus and then explaining to the client who Pauline true jerris and how she would work and why this whatever piece is reminds me of her work. So for me, it's it's like, ah, amazing, amazing.


Rachel Elspeth Gross  18:10

Yeah, shopping can be like curating. And when you're in the place where you have access to the history, you're able to communicate that I mean, people love stories, we all want to hear stories, we want to be part of stories, we want to feel connected to each other. And, you know, a lot of the time I know, sometimes for good reasons, fashion gets written off as being excess and decadence, but you cannot separate the history of what people have worn from the culture that they live in. And that can be a beautiful, even tragic story and finding your place there, making sure those historically important items are protected and celebrated and explained and explored. I mean, you know, I love all these things.


Bruce Estevez  18:52

Like, what you do for me is not only fascinating, but so informative. Like I learned personally, so much from you, every day, every day, every day, every day, always like whatever you post, I'm, I learned so much and it benefits me not only in my styling, but even, like because I'm in a situation where I run into if not the pieces, sometimes the designers and it's something that, you know, like if I'm doing the search, I can't find it. Like I feel free to ask I'm pretty good at it. And I will you know, it's like you do a Google search and it's like, okay, here's you know, six obituaries of this person so


Rachel Elspeth Gross  19:36

It's weird how much time if you want Yeah, yeah.


Bruce Estevez  19:44

So I like I think you because it's it helps me convey why things are important and what makes something special like the story like you are like Seriously, and I completely agree with that, like, and that's why I like a more sustainable approach to luxury like with clothes, and not everything's the most historically important, like, beautiful, like, not beautiful, everything's gorgeous. Everything has, you know, the odd beauties in the eye of the holder, everything is a you know. So it's nice that even in everyday things, I'm still able to earn everyday sort of like I can help someone find myself something that's really special that there was made with intention. And they have it in their everyday sort of wardrobe. You know, not always the couture gowns. But it's lovely when it is.


Rachel Elspeth Gross  20:45

We're all getting notifications. No, I love it when people don't have to work, but they have to work. And I love I mean, in my own work, I know that there are ideas that I will hear in my own head, not in a crazy way. But just I keep seeing patterns. And the only way to like exercise that is to do the work. And I am fascinated by the 1000s of places throughout the history of fashion or somebody made an impact change the world in their lifetime. And then crickets. They're gone. Why? Why? Why are those names not known? I mean, obviously, there's a billion talented people. But what is that? I don't know. It's it's very interesting to me, and I'm thrilled that you enjoy it.


Jonathan Joseph  21:33

That's why we brought Rachel here to Little Red Fashion to to do that a conscious and deliberate uncovering of all of the secret stories. And especially with our focus on this series, with showing kids and the adults in their lives, the hidden lines of fashion, yes, but also all the different roles that someone might want to have. I think our industry for too long has had what I famously called the celebrity chef problem where in the minds of so many people, the general public, you're a model or you're a designer, maybe that's like the their fashion industry. This is what my teachers tell them when their kid says, fashion depends like, what that's not a career. So deconstructing here, it's like people it's like you about those careers, where they may not know what exactly it is to be a stylist and the different facets that that entails and what kind of journey that can take you has taken you on and can take their children and their families on it. I think that is so important. You know, what do you think is the biggest misconception most people have about the work of stylists and what a stylist does.


Bruce Estevez  22:36

You know, I, a lot of people think that there's very minimal effort that stylists don't really do much, they just put a dress on someone and you're done. To be able to get access to pull a dress, like like, before there's even a project, you need to know where you can get the garment. Because if you go to a store and ask them to pull, they will say no. So I mean, it's it's, I have been very fortunate that I have been in places and I've been able to network. And I think that that's why, you know, like assisting or something in general, like you have to learn and you have to be open and you have to be I've always thought that to be an interesting person, you have to be interested in who's talking to you. So I asked questions, you know, I'll give you a little bit about myself, but I want to know about you. And if we jive, you'll know everything about me.


Rachel Elspeth Gross  23:37

You're good company.


Bruce Estevez  23:42

You know, it's like you have to build relationships and maintain relationships, like things happen, like, you have to even when you get a project, you have to you know, things aren't always flexible, like you sometimes you have to get things approved, and you have to start weeks in advance, working with PR companies working with designers. You know, scheduling around everyone else who's doing the exact same thing for other things. I just styled a shoe and it was difficult to get things but not impossible, because there was a film festival going on in the south of France and everyone was wearing the brands that I had asked but because of the relationship and because I make sure to treat the pieces with respect as best I can and if something happens, you own up to it and you say how can I fix this? And even if they say it's okay, you're at least sending plants. I always think that plants are a reflection of something that grows and so the relationship can still grow where a Flowers Flowers are dead flowers are lovely, they have their situation. But as an apology I think a small like a small plant. Small succulent something little, it's it's a thoughtful thing. But you know as a stylist, so you have to pull things you have to run around, you have to do the legwork, you have to know who you're talking to, even before you're getting to the styling part. You have to like source the raw materials, you have to pick them up, you have to get everything together, if you're lucky, you get a fitting ahead of time. That is that is rare, but it happens sometimes. And and you know, you have to be flexible, you have to be creative, you have to think of not just putting an outfit on, but especially for more editorial things. How can you transform what you have into a vision of something, while making sure that everyone who's very excited and trying to get through this day that you're in doesn't break anything, because when something breaks, you're the person you know, like it when you pull shoes, like you have to be like shoes. Number one, if you pull a pair of shoes, you need to make sure that the soles are protected. Pro tip, don't pull shoes with suede bottoms. Oh, there is there is no protecting them. And few and far between is the publication or photographer who is willing to let you put a tarp down. So you know that you have to make sure that that you have taped to the bottom of shoes, you have to make sure that you have clips and like all these things that sometimes you don't think of, you know, you have to build a kit with clips and pins, you need some basic sewing knowledge. I mean, the fact that I know how to how to do some basic sewing like hand sewing impresses people, like to the moon and back, which I think is just something like listen, if a button comes off my shirt, I need to be able to put it back on. If the slip is too high on the model because the sizing is a little off it like zips, it works. But it falls slightly different. You need to be able to know how to make a very small like, like just like tack something in a way that you can then undo it and it hasn't damaged the product. And then there's like the organization because at the end of the day, it's like, everyone's like, okay, it's rap time, we got to go, we have 10 minutes to get out of here and you're like, but I have $150,000 worth of things with feathers on them that needs to go into individual garment bags. So like to like know, if you have an assistant, God bless and knows what to do. Because I mean, and I will fully admit that my problem at this moment with an assistant is sometimes I'm still learning how to communicate what I need and how. And that's something that I am working on. Because I know that if I don't that will hinder me.


Rachel Elspeth Gross  28:00

You're good person.


Bruce Estevez  28:02

Thank you And plus, like, you know, like, I don't think that it's healthy for people to just snap it other people expecting them to know what's in their head. Oh my god, you know, I like anyway situation. That's when I go, you know what, why don't you go do this. And I'll take care of this. And I might be a little sharp, but it's not like, You're worthless, because you didn't know ahead of time what needed to be done. It's like, why don't you go put the shoes in the boxes and I'll take care of this because I'm going to have an aneurysm if I don't. And then you know, you get home and you have to go through everything again and make sure that it's done properly. Because I myself, you know, at some point, when you get to last six items, you're like, Oh, I have to look at this later, this isn't the same garment bag. And then you'd have to make sure that everything's going back to the right place. Returns, there is never a quick return, you must always make small talk, you must always be like I think in my mind a fuse about the product that they have lent you because they have trusted you with something that you did not purchase. And it helps build the relationship. So like when every pair of shoes that they have is out of the country, but they have three bags, they'll lend you those three bags because they trust you and they believe in you. So it's like a continual process. I think as a stylist, there's a lot of even for me, it's like why is this person who I've never heard of who has no Instagram followers, why are they getting all this attention and but you can't do that, you know, it's it's unhealthy. It's not you know, it's it. You can be inspired by others. But jealousy has no room in this business. There's so much of that. But it's better to sort of like, think about what you want to do. Don't be afraid for that to change. You know, like my What I do and have done in this industry has changed several times since I've started. And but it's all part of the process. And if I didn't learn that, I wouldn't have known this in a situation where there's no one to hold my hand. You know, like, sometimes you're on a set. And it's a very high profile set. And if you don't, if you can't figure out what to do, there's no one's gonna, no one's gonna tell you what to do. It's just this needs to be done. I don't like this. And you learn, you know, you learn to. And I think for me, also, because I have that retail side, I've been in the fitting rooms with people for years and years and years. I can interpret I don't like this in 70,000 different ways, by the way, they're looking at it by understanding what they have liked, you know, like, and then sometimes, like, even when I'm working with a client in the showroom, or whatever at Morphew you know, I'll pull something out of rack and I can tell by the way they look at it, I got it, like got it, it's too blousey you wouldn't wear something this classy. But do you like the color and the embellishment? Yeah, you know, and then so being able to vocalize that, even if that's not exactly what it is, you might be able to start a discussion, you know?


Jonathan Joseph  31:27

You're trying to dial it in.


Bruce Estevez  31:28

 Yeah, exactly like, and then you know, what, then, those times where you make a mistake becomes something that in a split second, you can say, I have an option, I have an alternative, we can do it this way. Why don't we just turn the whole dress around, then you won't see the bow? Yeah, you know.


Rachel Elspeth Gross  31:46

I mean, so much fun. To me. That's what I'm hearing from you love your work.


Bruce Estevez  31:51



Rachel Elspeth Gross  31:51

And the challenges are inspiring. And I know from what I do, I know from the work I've done with Jonathan, but that's what we want to expose kids to, we want them to know there are choices, that you don't have to be the fancy brand name to be doing. Seriously important, challenging, interesting, fascinating work. And isn't it. I swear I say this all the time. We are all better people. When we are loving our work, when we are doing something with what matters to us. We're better humans


Bruce Estevez  32:21

Absolutely. 100%


Rachel Elspeth Gross  32:25

I love this. I'm so glad you came.


Bruce Estevez  32:27

Oh my God, thank you so much. Oh, this is amazing. And yes, it's just have fun, do what feels right. If something doesn't feel right. Take a step back, write a list. Why don't I like this? And then how can I change this? It's not always obvious, but just sort of keep track of yourself. Don't lose yourself in what you do. Until you're at the point where you're like, I'm obsessed with this. And this is the thing,


Rachel Elspeth Gross  32:57

but what if you are obsessed with everythinng? What do you do then?


Jonathan Joseph  33:00

Guilty, guilty.


Bruce Estevez  33:01

Yeah. You know, I'm a workaholic. But I also find the balance, you know, don't lose the balance. There will be times it's a roller coaster. Life is a roller coaster. Sometimes you'll lose yourself to it, but you make up for it. When you're, you're able to turn the phone off and spend Don't forget to spend time with people who matter to you. That's key.


Rachel Elspeth Gross  33:27

So what's the best piece of advice you think you've ever received?


Bruce Estevez  33:33

I mean, besides Caroline Simonelli telling me not to be a designer, at least in that way, shape, or form. The best piece of advice, I think is to it was the whole idea of grace center pressure, don't let the pressure get to you in the moment. Deal with the pressure afterwards. Focus on what you know, you need to get done in the moment when you're feeling overwhelmed. Because I know if I let myself feel overwhelmed, then I've I've I've lost it. And it's just it's then you have to like get it back Together.


Rachel Elspeth Gross  34:11

 Herding cats.


Bruce Estevez  34:12

Yes herding cats. Absolutely. So if you can keep it together. In that moment, even if, you know there's a five minute period where you can say, you know, I need to make a quick phone call and you step outside and you silently scream in an elevator. And you just let that out and you go, I can deal with the rest of this later. And you go back in with a big smile. Keep a smile on your face. It sounds reductive people say it all the time but people will smile when you're smiling. You will inspire people to get out of their misery. Sometimes with a smile on you face.


Rachel Elspeth Gross  34:49

The right people? Some people will not.


Bruce Estevez  34:53

I have a very persistent smile and then when people are in a bad mood.


Rachel Elspeth Gross  34:57

You are so infectious.


Bruce Estevez  34:59

Yes. in a wierd, in a good way. You can't


Rachel Elspeth Gross  35:01

No, I did not mean it that way. Oh my god, it's COVID I'm so sorry. No, I meant you have a engaging and fun personality.


Bruce Estevez  35:12

Thank you so much the same same Seriously? Seriously both of you.


Rachel Elspeth Gross  35:18

Jonathan, anything before we wrap up?


Jonathan Joseph  35:20

Yes. one of my favorite questions because we're books here. So what is your favorite and or what fashion book or any book if you want to go there? Would you recommend that to a family that has a younger fashion lover? To give the parents a cool insight or something to kick themselves in my life?


Bruce Estevez  35:41

Huh? That's okay. So I would say, I'll give you two. And we'll start with the like the the very inspiring one for me, has always been the sort of very large it's like a coffee table size book of Diana Vreeland memos from Vogue. Yes. Even just though, like, I have learned so much as a person and a stylist. And your child's vocabulary will grow in an imaginative way. Or an incredibly imaginative ways. You know, I think that she really changed so much of like, she she she allowed that seismic cultural shift to change in the 60s, she really ushered that in. And so understanding what she was doing, how she was making these things happen. was inspiring. And then I also recently read a book from the 80s. But I think there are some parts of it really still are, uh um, Make sense? Is Nicholas coloriage, The Fashion Conspiracy: A Remarkable Journey Through the Empires of Fashion. And that was one of those reads that really pushed me into how do I do what I want to do in a more sustainable way? Like, how do I do this? I can't, as one person change the fashion system. I can't play I'm not good at games, otherwise, I'd still be in retail. You know, I was once asked why I didn't suck up to the general manager of the store by the general manager of the store. And my response was something because I connect with my clients and I don't have to, you know, so I don't I don't do that well, so as a as a very sort of creative person. It's, I need to understand how the system works to understand how I can work in a more sustainable way. So those are my two, but the memo book.


Rachel Elspeth Gross  38:00

We love her. Yeah, she's amazing. So I love this introspection, consideration. Looking back, not taking things at face value. I feel like this is all I mean, definitely applies to adults working in the fashion industry definitely applies to children and would again, help all of us be better people, better workers making work we love and care about and you're amazing. Thank you. Thank you so much.


Bruce Estevez  38:26

Everyone should just do things with intention.


Rachel Elspeth Gross  38:30

and reflection when she Yeah, it's okay to be wrong anyways.


Jonathan Joseph  38:34

Anything that like lihghts them up. I think the other thing too is like when you're doing something you love. Even when you're falling, you're falling upwards. You know what I mean?


Rachel Elspeth Gross  38:42

Yes, work matters. work matters. And that's a wonderful thing I think to aspire to. And maybe a great place to stop this before Instagram kicks us off.


Jonathan Joseph  38:53

I could do this for another hour it would be another like hour it would be very easy.


Rachel Elspeth Gross  39:00

Thank you again.


Jonathan Joseph  39:01

I think you are one of these days. Absolutely. Absolutely. I'd love that. Awesome. Well thank you so much for joining us and thank you to our saucy viewers. I will be back on the East Coast next week for installment now that I'm camping in California for they definitely want to stay tuned for our next installment of I can do that part of our Little Red Village initiatives with our newest Little Red Village who was so kind to share his insights on being a stylist and his journey through the world of fashion. Make sure you're following us here at Little Red Fashion co and if you haven't yet, preorder your digital title at LittleRedfashion.com by everyone, thank you so much for joining us.

Jonathan Joseph


Little Red Fashion Creator and CEO Jonathan Joseph is a fashion loving visionary & consultant who's loved fashion since childhood. After consulting in the luxury space for a bit, he was inspired to write The Little Red Dress. From there he realized kids who love fashion lack the same level of targeted resources from books to tech that their peers who love music or sports have had for ages. Our entire vision is dedicated to his mom, Margaret, who started his love of fashion as a kid looking for unique socks to cover his leg braces!


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