In an industry that prides itself on change, those with staying power are an increasing rarity. Yet Patti Wilson is one of the few fashion forces that has remained at the top of fashion since she began her career decades ago.

The venerable stylist has truly achieved ‘legendary’ status. She has shot countless editorials for Vogue Italia and V Magazine; styled the likes of Beyonce and Cardi B., and is a frequent collaborator of Steven Meisel and Steven Klein.

Yet, through it all, Wilson keeps her head down and remains focused on the work. Her drive: a passion for the industry and the creatives that keep it operating. Her jam-packed schedule is filled with editorial shoots with up-and-coming photographers, new talent, and frequently showcases new designers.

Wilson remains one of the busiest working stylists in the industry – with no signs of slowing down.

This year, Wilson will accept the Media Award in honor of Eugenia Shepphard at the 2022 CFDA Fashion Awards in Partnership with Amazon Fashion. Ahead of the big night, we caught up with the Patti.

What were your earliest memories of fashion growing up?

I was obsessed with magazines, like Vogue and Seventeen. I was always looking at them. Magazines started it all.

How did you make your way into the industry?

I ended up working in a restaurant as a maître d’. I met a photographer named Maureen Lambray. She loved the way I dressed and she said, “You should be a stylist.” I thought, “What is that? Never heard of it.” She said, “I have a sister who’s a stylist. Why don’t you work with her? She’s looking for somebody.” I ended up assisting this woman and it went on for quite some time. She’s the one that got me going into the whole industry. It was really different for me; it was very straight and very conservative. But it was a good step.

That’s amazing. Did you have a moment you think of as your first big break?

I would say the Italian Vogue job. Franca Sozzani really exposed me to great photographers, as in Peter Lindbergh, Steven Meisel and Steven Klein. It was an amazing time. And David LaChapelle, who was the first one that I actually worked with.

Do you remember your first time meeting David? 

I don’t remember my first time meeting him, but I do remember my times with him. He was probably one of my favorite people, because he made me laugh so much. We were so different. I was totally into fashion, and he was totally not into fashion. So, I would come in with all these fashion pieces and he would just go, “What is this?” But he would shoot it and it ended up being a very strange coupling. We did interesting things together. They were just so different from the fashion world. He was the one that pushed Italian Vogue to work with me. They wanted him to work with one of their editors, and he said, “No, let’s try this girl out.” That’s how it happened.

Talk to me about your relationship with Steven Klein. Do you have any early memories with him?

He’s very precise. He doesn’t think of everything as just a picture. It has a soul to it. It’s very intense to work that way, but it was the best thing that could have happened to me, because it made me work harder. I had to really come up with things for him. It always had to be something special. Not just your normal bracelet. It made me research harder and more intensely. Working with him was probably one of the most incredible experiences.

How did you build your voice as a stylist? Because you have something very distinct. You’re not one for minimalism. Where did this come from? 

That’s the Catholic part of me. I was brought up a lot around nuns. The Catholic church was a really big thing in my life. Growing up that is – not now as much. I loved the nuns, I loved the way they dressed with all the big crucifixes and embroidery. I loved all the extraordinary pageantry of them. I mean, The Pope was pretty fabulous. I loved the bigness of it.

What attracts you to taking on a project now and working with this younger generation?

The photographers. I love this guy Campbell Addy, I’ve been working with him a bit and he’s great. And there’s a few black women out there that are coming up, like Renell Medrano. I think it’s all just exciting. I’m drawn to the newness of it, and that there is great fashion all over the world.

What do you think are some of the biggest ways in which the industry has changed, as a stylist specifically, since you started out, versus now?

There’s so many new voices, and more people opening up, listening and just going, “Hey, you gotta let this happen.”

You have such an incredible history of work, but are there any favorite shoots, favorite images that come to mind when you think about your career looking back?

I think probably one of my favorite shoots was a Steven Klein one that we did with Karen Elson. It was the “Mad Magic Magnificent” one for Italian Vogue. I think that one comes to mind immediately, always. Then I just did this shoot with Campbell [Addy], that I can’t believe we managed to pull it off. It’s really great to be still excited. I think this period now is an exciting time. It’s hard work, but it’s all worth it. Plus I’m lucky to do something that I really like doing. I’m a lucky girl.

What is your key to staying driven and relevant? Your staying power is so impressive in an industry that’s always changing so much.

Well, I like change. I like trying something different. The clothes are changing and getting more exciting, don’t you think?

I’m so excited, getting magazines not to do this credit business as much. You get to let the other stuff bleed in, because it’s coming anyway. I got to dress Beyonce for Tiffany & Co. campaign, and it was so great to use these young kids and have them make outfits for her. It was fabulous!

Do you have any advice for upcoming stylists or designers looking to get into the industry?

To me, your assistants are very important. I’ve kept mine for 12 years. You need that. Be nice and treat them well. They want to become stylists, so you have to give them something good to learn. My shoots have become ridiculous, so I do need help to do this work. You need to have good people around you that believe in you.

You’ve also got to work really hard. Now you’ve got the internet, which has made things a heck of a lot easier. But still, research is really important.

This interview has been edited and condensed for clarity.