The celebrity stylist is a fairly recent phenomenon – fueled, for example, by social media and the high profile of Rachel Zoe. Before then, stylists were largely operating in the shadows of the celebrities they dressed and little was known about them and their the role.
When Sophie Lopez was beginning her job search, all she knew was that she was desperate to work in fashion – sending letters to Condé Nast personnel every year until she finally landed a position in media sales. She quickly transitioned to editorial via a work experience placement at British GQ, where she worked her way from intern to stylist for the magazine’s “Men of the Year” covers. Fast forward to today and Lopez is one of the industry’s most in-demand stylists who balances her red carpet work for Kate Hudson with editorial shoots for Flaunt and Vogue Mexico.
For our latest series which spotlights members shaping the fashion industry, we caught up with the Los Angeles-based stylist to hear how she transitioned from menswear expert to Hollywood’s go-to stylist – and everything in between.
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What’s your earliest fashion memory?
My favorite thing to do as a kid was play dress up. We had one aunt in Colombia who had an amazing wardrobe, and as a kid, I would spend hours playing with her handbags and shoes. It was my way of make-believe or fantasy. It’s something I knew I wanted to do from a young age but I wasn’t aware of what that job was much later.
When did you become aware?
When I began to work at Condé Nast. I wrote to Condé Nast personnel every year while I was at university. I didn’t know what I was writing or asking for, but in my final year, I got a letter asking me to come in for an interview for a media sales job. I didn’t know or care what it was. All it thought was ”I have an interview with Condé Nast!” My dreams had come true. I was just so happy to have my foot in the building.
What was the job?
I ended up selling classified ads in the back of the magazine. I was the worst salesperson of all time. Terrible. It wasn’t until I was in the door that I understood the difference between publishing and editorial. Up until then, I just knew that I really loved the pictures in a magazine. But I didn’t understand what positions were available. I realized that I was in the right place but the wrong one at the same time.
How did you make the transition to stylist?
After about eight months, I understood I was going to have to step away from doing what I was doing and try to get work experience placements [internships]. I ended up leaving, taking a job at Nat Mags [National Magazine Company, now known at Hearst Magazines UK] as a publisher’s assistant, and I would use my holiday days to do work experience on the side. I got one at GQ, and they kept me on as the intern. Just as they were about to terminate my internship because I had been there too long, the fashion assistant got another job so they gave it to me.
What was your experience at GQ like?
I was a fashion assistant to [then-fashion director] Jo Levin. It was an amazing experience to learn from someone like her…an old school fashion editor. Just being around these great fashion people, I will always carry the work ethic with me.
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When did you make the decision to go freelance?
Instinct. You just have to go with your gut. While at GQ, I picked up a band called the Klaxons, this tiny new rave band, and then they blew up. I had the opportunity to at least try. It’s scary leaving somewhere, especially such an institution but I’ve always jumped and landed on my feet.
What makes you decide to take on a new client or job?
I look for interesting people and interesting stories. I just have a feeling about people. There are some jobs you take for fun –a lot of those editorials, to be creative. The more editorials I do the better I become. And then there are the jobs you take because you need to make rent. At the end of the day, as much as I am a creative, I’m still business and I need to be able to pay my staff and put a roof over my head.
Was there a turning point or highlight for you in your career?
I owe a lot to Muse. They were my biggest client for a long time. They brought me to LA and introduced me to Kate [Hudson].
What do you enjoy about working with Kate, a longtime client?
I love how well I know her and how she still sometimes surprises me. What’s great is that sometimes she’ll make the choice I didn’t see coming. I’ve known her for a long time, but she still gets excited every time I bring a rack of clothes in. Not everybody enjoys fittings or the process, but she really does. She’s just one of the people who makes every day feel like the first day with her enthusiasm and energy.
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You made waves for one of your new clients, Yalitza Aparicio. Can you describe that relationship?
I’m Latin American so that attracted me initially to her, but it was really her story. I had dinner with a friend who had been to the Toronto Film Festival. He had seen Roma and sat through the Q & A afterwards. He had seen her talk about how she was cast and wasn’t an actress. It was a totally out-of-left-field story. As soon as I heard it I was so excited by it. The idea of having somebody so different was really important.
Is there a common misconception about what you do?
People don’t understand how unglamorous it can be. You see a photo of a beautiful rack of clothes, and everything is designer and looks gorgeous and the shoes are color-coordinated. What you don’t see is how how you loaded all that into a car and carried eight suitcases up a three-story walkup. There are blood, sweat, and tears behind every project. It took me 15 years of real hustling to get to the place where I am today. You might have a good year and you think everything is great, then you have a bad year. You just never know. I think that people getting into might not be prepared for what they’re in for.
What advice would you give to someone eager to work in fashion?
Be prepared to work hard. There are no shortcuts. Try to be the best person at work and make an impression. If you’re going to be the intern, be the super-intern. And hang in there. Have resilience and faith that you will be successful.
What excites you about the industry today?
How everything is changing. How unpredictable it is. I’m excited about the business. The rise of ”Instagram brands” is really interesting. Even as a stylist, I look at Instagram now when I’m trying to research new designers. I’m also excited about people paying attention to sustainability. And they are a bit more inclusive. I think [fashion’s] moving in the right direction.
