Dressing carefully or adopting clothes that we feel comfortable in gives confidence, shows the best of ourselves and reveals a facet of our personality. Our TV presenters know how important it is to be healthy saw. The same goes for artists performing on a big set or red carpet. While it may seem pointless to talk about clothing, the fact remains that fashion is an art, a signature. Meeting with four stylists.
Craig Major
Photo courtesy of Hugo Lefort
Craig Major
Craig specializes in bespoke wardrobes and also works with many stars for magazines and publications. He dressed Guylaine Tremblay, Ingrid St-Pierre, Christine Morency and Pierre Hébert. He also wrote a column for Marina and will be hosting the series La robe on VRAI starting June 27, in addition to his J’aime ton-style appearance this fall on Elle Fictions.
In the age of social media, is it essential for a headliner to look good?
Fashion isn’t given any more importance than before, but we’re finding that for some artists it’s becoming their own signature. Fashion evolves, a style evolves. The artist’s eye gets used to styles that may seem more daring and normalizes them. In Quebec, we remain cautious compared to the United States for fear of people’s opinion. But a new generation, more interested in fashion and trends, is emerging.
What elements influence the look on TV?
One has to be aware of the universe the artist is immersed in, his mood, whether fancier or not. We also work with make-up artists and hairdressers to create an overall look.
You work with both stars and individuals. What is the impact of being well dressed?
There is a mega dose of self-esteem. It’s the first 10 seconds that count to make a good impression. A piece of clothing presents our personality even before we start speaking. For a woman, a high heel conveys a sense of power. A man in a denim t-shirt does not have the same impact as wearing a shirt.
Emmanuelle Rochon
Photo courtesy of Hugo Lefort
Emmanuelle Rochon
Sensitive to aesthetics, Emmanuelle has developed contacts with several artists over the years for whom she has created looks. They include Rebecca Makonnen and Jean-Philippe Wauthier. We also owe her the beautiful jackets by Jean-Marc Généreux at Révolution and Julie Snyder, who leaves nothing to chance, advises her on each of her looks. We’ll see her co-hosting the series La robe on VRAI in a few days.
We are in the age of the image. Do we care more about clothes on TV than we used to?
We’ve had good years of maintaining our identity, but lately we’re seeing budget cuts and styling is affected. Some productions allow you to request 26 or 84 looks with a budget of $43 per look that you see on the same level. That’s little. Raised by social networks, the youngest have developed autonomy, their own content, their identity and leave nothing to chance.
Photo from Facebook, the week of July 4th
Julie Snyder, Emmanuelle Look
How do you build a bond of trust with the artists you dress?
It may seem superficial, but it goes well beyond the scope. My goal is to highlight the artist’s strengths or something underrated that gives them confidence. The first few times I’m not there to challenge him. He needs to feel good to be able to focus on his content.
When I evolve with an artist, I adapt to his personality, his morphology. Every person is different.
What do you think of artists who dare to stand out with their looks at an event?
I agree. If you’ve dreamed of being at the forefront your whole life, then why downplay it when there’s a possibility of a moment that may never come again? People at home like to dream. And the more a look is nested, the more associations will arise. Don’t think that the shops are still lending. Some designers want to be associated with notoriety and greater impact. It’s a win-win situation.
Chanelle Riopel
Photo courtesy of Guillaume Boucher
Chanelle Riopel
Coming from editing, press styling and advertising, Chanelle began to gain a foothold in the world of artists thanks to the promotion of Rythme FM and collaborations with Véronique Cloutier and L’Aubainerie. She fell in love with this aspect of the job. Since then, she has not only discovered the looks of Véro, but also Marie-Louise Arsenault, Julie Marcoux, Michel Bherer and Pénélope McQuade.
Is there a big difference between styling for magazines and for TV?
The way of seeing clothes in 2D and 3D is very different. When we shoot, we make sure a garment looks good. We cut, we put pliers, we remove wrinkles between each click. On TV, a piece of clothing has to look good from all angles, whether the presenter is standing, sitting or greeting his guests. And we can only intervene during breaks. It’s a challenge and a great way to let the garment live.
Photo courtesy of Benoit Rousseau
Véronique Cloutier at Zenith, Chanel look
How does the choice of clothing differ depending on the style of the show?
It not only depends on the artist, but also on the image that the broadcaster wants to convey. For Le fil, Noovo asked me to offer a younger, more accessible and up-to-date image. I was pushed on Michel Bherer and we developed a relationship of trust. He discovers that fashion is distinctive in its own way, but that doesn’t stop him from communicating professionally. There are artists who don’t want clothing to be the subject of discussion. For her part, France Beaudoin is more sober. Vero also speaks of “value added”, while at Zenith she advocates the great effort.
What makes a good look? Is it because it gets people talking?
The result is shown on screen as long as it lives with the light, if it allows the animator to move appropriately and if it feels good. I don’t like to talk about beauty. I prefer to wonder if the look lived up to expectations. And I don’t mind if I disagree.
Do you think our animators are bolder?
There’s an uninhibited side to television that comes from people who want to break standards and democratize styles. Véro does this by stepping out of her comfort zone and venturing into plus sizes and espadrilles. Also Sarah Jeanne Labrosse. There is no one fashion, one style, one truth. It is the image of society.
Melody Wronsky
Photo courtesy of Kelly Jacob
Melody Wronsky
Mélodie started out as a copywriter and started a blog where she discussed fashion and music. Then she started as a DJ styling for magazines. When she was hired for the Occupation double, she met Jay Du Temple, with whom she could have fun as well as develop her own collection. It was she who convinced Pomme to wear a dress. She is also making a name for herself in fiction. Fourchette enables him to bond with Sarah-Maude Beauchesne. You can see her looks in Haute Démolition, Virage and soon in the Danse series.
Photo courtesy of Eve B Lavoie
Fork, look from Melody
Have you and Jay brought about a change in mentality thanks to your looks? They fueled social networks!
Social networks do not improve our work. We do it for us. Courage comes from self-confidence and the privilege of not having to bear any responsibility. We had carte blanche from the broadcaster, the producer and the implementation. Jay has always been curious about the bright colors of women’s wardrobes. The application of varnish comes from him. The same openness prevails in our circle of friends. We didn’t try to change the mentality, that’s just who we are.
Photo courtesy of Jordi Soldevila
Jay du Temple and Melodie Wronski
How do you develop the looks you offer?
I do more fiction, I talk to the directors. I love people watching at Mile-End. It’s very interesting. In Quebec we are limited. Stylists often rent clothes from the same suppliers because we don’t have a lot of budget. It is important to understand the personality, body and image that an artist is trying to convey. I designed all of Sarah-Maude’s outfits for the Cœur de Slush promotion. When we work with people like you, like Pomme or Jay, we manage to create unique pieces from artists. We don’t start out with the idea of shocking or for everyone to talk about it, but when people stumble, we’re happy. They are empowered people who want to inspire, who want to say that you can be yourself, who want to have a positive impact.