Creative Director Genesis Webb takes us through Chappell Roan’s take on the VMAs

Few stylists today do it quite like Genesis Webb, Chappell Roana’s Oklahoma-born architect with a vibrant, campy and totally original aesthetic. As expected, An interviewThe September star delivered another memorable moment at this week’s MTV Video Music Awards, where she won Best New Artist and took us back to the Middle Ages with her medley of “Red Wine Supernova,” “Good Luck, Babe! ” and “Hot to Go!” After the show ended, we brought up her right hand to talk about the return of the camp, what is it true like she was a Hollywood stylist and how she turned Chappella into our knight in shining armor.

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JULIAN RIBEIRO: Congratulations on your massive week. I mean, how do you feel now?

GENESIS WEBB: I feel very good, relieved. It was a feat for sure. Definitely the greatest thing I’ve ever done. Some of the best if not the the best, the performances were at the VMAs. It was one of those things that was like, if we’re going to do it, we’ve got to do it with a bang.

RIBEIRO: Well, you guys absolutely killed the VMA. It gives Baldur’s Gate 3 if they killed.

WEBB: Thank you.

RIBEIRO: I think everyone was expecting something big and it was definitely delivered. Like you said, the VMAs are so much about performance and moments that people look back on in the future. What was the process like preparing for a project with so many moving parts?

WEBB: Well, Chappell wanted to make a “knight.” But I’ll be honest, her outfit changed three times due to fire rules. The initial rendering of what everyone thought was literally impossible to do, which ended with divine intervention because I didn’t want to change anything. With something this big, you think about the bigger picture and take away your ego. The initial thought was never how it would be. It’s impossible. We were rolling from the blows.

RIBEIRO: 100%. It’s an endless pyramid of things to deal with, but it looked crazy. Can we talk a little bit about the development process for these big events?

WEBB: Yeah. I wanted the whole night to be the show that it is [Chappell]. Regardless of her being nominated, I wanted it to be a moment. And thank God she won the award. I had [Paco] A Rabanne look ready to go months and months ago. Instead, she wanted a red carpet dress. So it was just about creating that story. Stands out with a knight, looks very feminine and soft. The knight spreads out the carpet for her to stand on. It was this intensely theatrical moment that showed her femininity, but also the strength she possesses. The knight gives her the sword and she returns it. And then the actual performance where she gets knighted and accepts the award. This is a dress made of beautiful silver tiles that looks like a knight, but is also such a feminine dress.

RIBEIRO: I’ve thought about this a lot, but I think these moments work best with “narrative.” I say this in quotes, but small scale world building. I want to know what you think about the importance of storytelling through fashion.

WEBB: I think it’s everything. Especially with musicians, because the stage itself can be so limiting. You don’t really get a chance to show your world on stage unless you have really crazy budgets. I think that with her, and she is aware of it, there are so many costumes. It allows the audience to be transported into this different world. Everyone is trying to escape and it’s nice to have so many different options. I think Charli XCX also talked about world building and that icons are icons because of the world they create. And I agree – it’s everything when it comes to longevity. For me, film is the highest form of art. So we’re just trying to create little versions of that, right?

RIBEIRO: Yes. I think it also works because we’re in such a vibrant visual culture now, where we see so many images and kids interact with art from everywhere and every decade. It is no longer enough to just be in a nice dress. You have to show us your imagination.

WEBB: Well, we’re going back to maximalism, which I love. I know a lot of people say that what Chappell and I do isn’t necessarily “fashion” because she doesn’t wear brands at all. I will literally never do it if it doesn’t make sense, and I don’t care about the money. Neither of us cares about money. I’m not interested in selling things to people. All we want to do is make the art we want it to be. I don’t really want to play the game.

RIBEIRO: Yeah, most people don’t know much about how the business side of it all works. It’s a complicated web of likes, months of negotiations, and emails and numbers.

WEB: 100%. But it’s going in a new direction. I can feel people pulling away. I feel that designers and houses are also moving in a certain direction and showing theater on the runway. In the next two seasons too, I feel like we’re going to get some really amazing shows and pieces.

RIBEIRO: Yes. I’m curious about your thoughts on this because I was talking to Dara, our fashion director, and I was like, “Do people know that camp is coming back?” Kids respond to these images of a scout’s ass. Kids love that. Does my little brother think it’s cool that someone wore brand X? He doesn’t recognize them, but he can understand that Chappell Roan is a knight and that it’s amazing. This visual moment will communicate much more.

WEBB: Yeah. Camp is back. This makes fashion not a niche, guarded secret. I don’t think you need to know a list of brands to be interested in fashion. Because at the end of the day, none of these kids know this or that brand. But they you can recognize if it is a performance.

RIBEIRO: There are definitely kids watching your last year of projects with Chappell who might think more critically about the clothes, the imagery, and the art. How does it feel to establish a visual legacy?

WEBB: I think I try not to think about it because I get too emotional and crazy too. I grew up in Oklahoma and touched everything. I sat in my room all day, skipping school and watching A downward spiral movies and Party monster and Spun. I was reaching for something that was as tumultuous as I had ever felt in my life, and it gave me insight into a reason to try harder. So that would be amazing for someone. I came from nothing. There is no reason why I should be in this position now, other than the fact that I just refused to do anything else. I refused to work from 9:00 to 5:00. I tattooed my throat. Even if I had to live in my car, I would die for it. And I tell everybody, if you die for it, you’ll get it. If I didn’t die for it, I could do something else.

RIBEIRO: Absolutely. Fuck him. I’m curious what your everyday life looks like.

WEBB: Yeah, it’s definitely changing. I recently got an assistant and it was so nice. I’m just trying to build some real team because I don’t know everything at all. I still have a lot to learn from others who have been doing this much longer than I have. I just reached out to a lot of people, mentors in a way. But it’s weird because I think in fashion everyone wants a piece of the pie. Therefore, it is difficult to get help from others. Which is fine, I get it. But I’m trying to learn more as quickly as possible, so that’s really what my days look like. I just want to do better, be better, learn more and try not to disappoint anyone. Being a stylist is, in my opinion, the dirtiest creative job in the industry. Schedule, amount of packages, check-in, check-out. And if you lose something, it’s $20,000. Where do you think the money is coming from?

RIBEIRO: I think most people don’t have a complete idea of ​​what the job entails. Many people say, “I’m a stylist because I know what would be hot on you.” And it’s like, “No, you’re a stylist because you’re arguing with a PR guy at 3 in the morning and you’re like, ‘Where’s the dress?’ “Does anyone have a tape?”

WEBB: No, I have a roll of duct tape with me everywhere. Right before the stage at Coachella, I duct taped a dog because her latex bodysuit had burst. Stylists are mean because their lives are hell, so it’s okay. I know they don’t get a damn vacation, they are on the phone 24/7 and probably not sleeping.

RIBEIRO: Do you feel like a trial by fire?

WEB: 100%. I didn’t talk about it, but at Osheaga we had so many problems with stage costumes. I was sidestage, such a wreck. I turned around and the Smashing Pumpkins were right behind me and I was just sobbing. It really took me out for a few weeks. It was like, “Damn, I’ve made mistakes and in front of such a big audience.” Luckily, Chappell is amazing and doesn’t get upset. He understands that it is a team effort and that we are a small team. I just want to take care of Chappell. I really care about her and it would hurt me to know that I let the fans or the team down or her down.

RIBEIRO: I feel you. I hate to be this guy, but it sounds like your life has changed a lot lately. What would you say to someone who wants to join this world?

WEBB: Don’t have a plan B. It’s to make it known that you think you’re going to fail.