The Way I Work... Chappell Roan’s Stylist, Genesis Webb
We’ve all heard its Brat summer, but it’s also Chappell Roan’s summer, and by extension, Genesis Webb’s summer. At 26, the visionary stylist has helped Roan capture global attention with her theatrical and whimsical looks. Remember Roan’s viral performance dressed as the Statue of Liberty? Or her stunning Swan Lake ensemble on Jimmy Fallon’s Tonight Show? Webb’s talent is undeniable, but it’s her boundless creativity and eclectic references that sets her apart.
Growing up in Oklahoma City, Webb felt “really separate from the world”. Yet, it was this sense of isolation that fuelled her curiosity and deep appreciation for creatives who came before her. “I watched [the 2011 Alexander McQueen documentary] McQueen And I for the first time when I was 17 and it will never be something I don’t think back on. I rewatch it every year. It resets me,” she says.
Her personal aesthetic is often a world apart from that of her client’s. Her Instagram is filled with moody mirror selfies and chaotic BTS shots, all complete with worn leather boots and ripped tank tops. Yet one thing is undeniable: a vision rooted in ‘anti-fashion’, which aligns perfectly with the avant-garde spirit of artists such as Chappell Roan.
Webb finds her muse in the evocative stories told by fashion’s great visual poets. Rick Owens and Ann Demeulemeester, known for their dark, brooding and boundary-pushing designs, are her guiding lights, and she admits she would go as far as “to die for” a grey wool hood from Rick Owens’ autumn/winter 2011 Limo collection.
With an eye for the extraordinary and a knack for seamlessly blending cultural touchstones into her work, Genesis Webb brings the artistry of styling to life. Here, she offers a glimpse into her unique world: from working in her candlelit LA garage to sewing tongue-in-cheek dad-T-shirt slogans onto Rick Owens tops. Her flair has everyone – including us – watching closely…
My Morning Starts… I wake up at 6am organically, I don’t need an alarm. I immediately stress-check my phone – I worry about the time zone difference in LA, so I’ll respond to emails and then try to go back to sleep until 8am or so. I live in the garage, so I usually will light candles or open my side door to let a sliver of natural light in and then I start on the infinite tasks on my computer. If my girlfriend is there, she’ll make me breakfast and we’ll eat together or go to our favourite coffee place for an iced oat cortado. The rest of the day is spent on my computer or on calls with designers for customs. There’s never really a day that is like the other: the other day I made papier-mâché mannequins; and if I’m on set then it’s a different ritual entirely.
My Working Playlist… I enjoy silence when I’m doing tasks or even creative decks. My brain is too scattered to focus with words or melodies. If it’s a set day, I like to start the day with affirmations – Jason Stephenson is my favourite voice for them. The actual styling process usually consists of the talent’s suggested playlists, so I zone out. If I could choose an album to always play for the process, I would pick Homogenic [by Björk] or Mezzanine [by Massive Attack]. Sometimes I also just want to hear Trent Reznor’s voice.
My Work Uniform… I try to dress for the occasion. Recently, I’ve found a lot of dad-type T-shirts that read things like ‘don’t worry, I do this all the time’. I want to cut out the text and sew them onto Rick [Owens] tops, which are my favourite thing to wear on set. I have a black [Rick Owens] Lilies maxi skirt that I wear with a T-shirt a lot, too. I either wear all black or I wear all cream/tan/bile colours. If I’m home, then the uniform is a ribbed white tank top and old Levi’s that are covered in various stains. My room is covered in paint tarps, so maybe the pants subconsciously make me feel like I’m working with my hands, even when I’m just staring at a screen.
My Creative Process… Is wholeheartedly intuitive. I often create a headspace of tumult to put myself in a place where I have no choice but to decide without excessive thought. I like to allow the spirit to flow the way it needs to without my ego involved. A lot of the times on set I have oversight of all creative – hair, makeup and set, etc – this includes editorial but also performances. If I think about the big picture, the entire story, the details come together the way they almost are forced to. Sometimes it doesn’t even really feel like I am choosing. Mistakes turn into holy grails.
My Favourite Brands… It depends on the client and the world that makes sense for them. For myself, I’ll always lean more anti-fashion than anything. I love Rick [Owens] and Ann [Demeulemeester] and [Maison] Margiela – those are staples that will never change. Lately, for one client in particular, I’ve really loved Thom Browne and Viktor & Rolf. One of my favourite young designers right now is Maximilian Raynor. I also think Martine Rose is a gift to the world.
The Film & TV That Inspires Me… My favourite director is Leos Carax – The Lovers On The Bridge [Les Amants du Pont-Neuf] was one of the first films I watched that made me understand that film could be more than the blockbuster hits I was used to. Yorgos [Lanthimos], Jonathan Glazer, Robert Eggers. I also love Force Majeure [2014] – the interpersonal relationships really affect me on a deep level, which set the stage for everything else.
For visual references – [filmmaker] Alejandro Jodorowsky is always a beloved answer, I cannot imagine living inside that man’s brain. For costumes, for performances, I always look at ballets and the theatre, especially in the 1940s-1970s. The intricate details of fabrications and adornments have been somewhat lost in recent [times]. I’d love to be able to implement some of that into upcoming project performances.
The Trip I’ll Never Forget… I went on a year-long road-trip in 2018 and I was able to see a lot of small towns around the US. I take a lot of inspiration from the reality of those places. I grew up in Oklahoma City, which is a very established city now, but it wasn’t that way when I was younger. I felt really separate from the rest of the world. Those faraway places are what I hold onto now to stay level when I am in LA or New York. Venice, Italy is also somewhere I’ll never forget. Living day to day without hearing a single car was revolutionary.
The Creatives Who Inspire Me Most… [Costume designer] Jacqueline West’s work runs through my brain, often. I watched Dune: Part Two [which she designed the costumes for] and leaving the theatre, I wanted to quit altogether. I’ve read every interview with her talking about the process and the garments. It’s the most inspiring work I’ve seen in a long time. You think to yourself, ‘What’s the point of continuing because I will never create something that impactful and beautiful?’ It’s honestly a difficult film to watch because the visual decisions are so intricate and perfect, you just want to hit yourself for not thinking of things first or being a part of it. I would quit everything to shadow her on set for a year or five.
The Best Career Advice I’ve Ever Received… Styling-wise, Lisa Jarvis told me once that ‘it’s all in the accessories’. I think about it often. I have many people to thank for keeping my head above water and in the end, the best advice is always to trust yourself and trust that you’re in the position you’re in for a reason or you wouldn’t be there at all.
My Favourite Styling Moment… Chappell [Roan]’s look for Bonnaroo [music festival] is the most full-circle and most sentimental for me. She wore Chloë Sevigny’s nurse outfit from [the 2003 film] Party Monster. I went to Bonnaroo for the first time exactly 10 years prior when I was 16. It was such a different time for me and I was making a lot of mistakes while living a very difficult life at home. I watched Party Monster all the time to escape what I was living. During Chappell’s performance, I thought about how different my life was and how I would be so, so proud of myself if I saw what I was doing at 16. It was really special.
Where I Go To Feel Inspired… Forest Lawn [Memorial Park in the Hollywood Hills], at the top of the hill. It’s the best park in Los Angeles – it has the best view of the city and its quiet. It also reminds me that the chatter of all the small stuff is not immortal. Usually, if I’m uninspired, I need to redirect and just enjoy the ride.
If I Wasn’t A Stylist, I’d Be… A film director, hopefully. I hope to do that anyways, but I like a lot of moving pieces and responsibility. I like making a million decisions in small amounts of time. If I was better in school, I’d probably go with being an astrophysicist – I think it’s the coolest job in the world – or even a biochemist. I don’t really know what being a biochemist entails, but I imagine it as the closest thing to making potions. Maybe I’d just be a bartender.
5 Wardrobe Items Stylist Genesis Webb Can’t Live Without…
“This is hard, because I don’t splurge on clothing and I’ve never had money to buy anything, so I try not to get very attached to pieces that I never thought I could own. These are just my day-to-day…”
- A White Ribbed Tank Top – It’s trashy but it works, I can dress it up or down and I feel powerful in it. I can’t explain why.
- A 2002 Junya Watanabe Denim Runway Dress – I purchased it for $250. It was one of the first items of clothing I bought that was more than $120. I don’t wear it often, but I’ll never let it go.
- A Pair Of Decrepit Black Fluevog Boots – They are a half size too small for me, and I wear them to every set I am on. I can’t and will never let them go.
- Black Duct Tape – Because it can be used for everything and has saved me on multiple occasions.
- Rick Owens A/W 2011 Limo Women’s Collection – There’s a grey wool hood that’s carried out throughout and I would die for it. I have been wanting one for years and it would change my entire wardrobe if I had it. That collection is my favourite, I wish I could only wear that collection for the rest of my life.
Pia Brynteson is Content Editor at Service95
