Fashion L'amour

The stylist – fashion’s unsung hero |

|Words and images by Pat Lyttle |

In celebration of the brains behind the looks, the editorials, the mood boards, the inspiration, the direction, and many other things – the stylist. We spoke to Pat Lyttle, to find out more about the life of a stylist.

1.How did you get into styling?

I got into styling back in Japan in 2000. I was in a hotel one late one night, chatting with an Italian photographer who showed me images on his laptop of fashion work he had done. I was amazed and so inspired. 
To this day I remember saying, “I wish I could one day do fashion photos of a model”. 
I had never done anything purely fashion related at that point, though I had done some street style in Tokyo and in London at fashion week, and various other projects. 

Shortly after returning back to London, I asked a beautiful Chinese friend of mine if she would let me take some fashion photos of her. A friend organised the use of a business boardroom. Huge long mahogany table, huge leather chairs. My first fashion based photo-shoot, I shot my tiny beautiful Chinese friend dressed in pinstriped power suit, with trousers, shirt and tie, a 1930s trilby style hat, pretty kitten heel mules, and a huge, fat cigar. 

There were two main shots. My friend standing front and centre on the boardroom table, and her cigar in hand, 
legs crossed and dressed like a man in a suit, sitting in the big leather chair. 
Buying the clothes to fit her, doing the photography and styling the shoot to make my vision come to life. 
I knew then this is truly what I was meant to be doing. 
It wasn’t until 2015 that I decided to go for it as a professional Personal Fashion Stylist.

2. I see you have a particular love for Japanese fashion? How did that all start?

I first went to Japan back in 1997. I’d always been fascinated with Japanese culture for some years. 
While there, it became apparent that on a totally different level to that of the UK, or at least London, there were distinct mainstream fashion tribes and trends, and lots of them, with a noticeable  geographical diferentce in styles and trends shown in Tokyo to that on the streets of Osaka. 
Fashion was in my blood without my realising how important it wearily was to me at the time. 
I documented what I witnessed on the streets, in terms of styles and trends. I was shooting transparencies, 
slides back then. 

My next visit to Japan two years later I was happiest on the streets, all day and all night. Back then young fashionable teens wanted to be photographed. The true impact of the internet and western opinion of non fashion loving journalist, had yet to hit them. 
I just documented all I could see loving every moment as there was nothing like this in the UK at that time. 
Street style as we know it today really started in Japan. 
So many of the big mainstream trends and styles outputted by big brands like Gucci, originated in Japan. 
The kigurumi, Circular glasses with no lenses, fluffy and fur slippers and shoes to name a few. 

I have been documenting Japanese street style and fashion trends, and the influence of them in the west since. 
For over two decades. 

3. What are you signature looks would you say? What pieces or colours, if any, are usually involved?

If working with a personal client, I usually start by asking questions about likes, dislikes, fave colours and inspirations, set objectives and end gaols after their experience with me. Also asking them to tell me a little about themselves, so you can get to know and trust each other more

When on a shoot, I have a Stylist kit of essential items of importance. These are set out and  arranged for easy access and use. Lint roller, bulldog clips, pins, various tapes, accessories like statement jewellery, hand mirrors, bags and shoes laid out and all other clothing arranged for easy access and where possible, named if multiple models, and put in order of shoot sequence, with a note pad and pen for editorial or other caption details. What time shots of this particular dress or item by specific designer was worn, shot, by who, and what else was worn with it, list of designers or owner brands. 

Always make models feel comfortable and be the creative conduit between the Creative Shoot Director, Photographer, so their vision is best realised, Model has a good experience and can deliver what is required to make the clothing come to life at its best, and Publication Editor is happy. 
So all get what they want, the end goal is achieved effortlessly, and everyone has a good time.

4. What would you say is the most challenging thing about being a stylist?

For me personally it is the acquisition of clients because they are usually Japanese or Chinese. 
This is most specific many would rightly think, but you have to start somewhere, You have to target and focus at the start. It helps sometimes to specialise. For me it is with use of high quality vintage fashion items, knowledge of Japanese and Asian culture. All great, but not so prevalent in London as it would be in Tokyo. Reputation and knowledge of your art is key along with conveying professionally at all times and how passionate you are about what you do, and your ability to help others.

5. We’ve all heard stories about models on photoshoots wearing clothes with tags on them, as they need to be returned afterwards. How common is this?

This is quite common, but something I don’t have to experience so much as I do not do pulling frequently. 
Pulling is the term used when a Stylist borrows, purchases or hirers an item for a shoot or client, 
for use to ten return the following day. 
If you have a good relationship with a store, tags can be removed and upon their return in perfect condition, 
they would usually be happy to reattach the price tags.

6. What’s the one thing you think people under-appreciate about stylists?

The fact that you are not only working with fashion and in image management, but you need to have good empathy, be attentive and put across many views so someone can see themselves in a positive light, but from differing aspects and angles. You have to be good with people but professional at all times. Sadly there are some that spoil and tarnish the reputation of what a male stylist is about when working with women, making it difficult for you to do your job well, especially when some clients may have a particularly low opinion of their self, and are overly conscious of their physicality. This is more common with clients from Asia and from the UAE. Cultural and social knowledge again is an integrual part of the job.

7. Whats next for Pat Lyttle? Any big projects for 2019 and beyond?

I am working on a huge project for next year. I am putting myself out there as a brand by making a statement kind of project, collaborating with various well known people. 

I’d like to focus more on my connection to Japanese culture, and what I can do to help others. 
Wanting to focus on giving back, in terms of being the visual creative I am with fashion knowledge and experience, and a wish to share it in order to help make people’s lives a little better. 

I will be in Tokyo next summer to do various fashion shoots, and style several clients, influencers and public figures. 

I’d like to do more collaborations with use of my extensive vintage fashion collection. 
Maybe get some work involving TV shows or cinema.  Many things are planned as is with all creatives.

See more of Pat Lyttle’s work on his blog here

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