They say that behind a great man there is always a great woman. In this case, behind a great artist, she is: Alba Melendo. Or what is the same, when your stylist loves you and it shows. She is in charge of shaping the looks of national and international artists such as Bad Gyal, Karol G or the Italian Elodie…He has also dressed Georgina Rodriguezand has made covers starring Kylie Jenner or Paris Hilton.
Creating styles that not only set trends, but become an extension of the personality and strength of the artists on stage. Alba’s ability to fuse urban aesthetics with luxury, archive or vintage, without losing the essence of each onehas positioned her as one of the most sought-after stylists of the moment. And it’s no wonder. In their hands, artists not only look good, they feel powerful. HELLO! speaks with Alba Melendo and tells us about her beginnings in the world of styling, their references, what their creative process is like and the last thing the big stars ask for…One on one with Alba Melendo.
Her work, which ranges from editorial styling to personalized advice, reflects her deep knowledge of fashion and her ability to transform the image of those who trust her vision.
© @akabadgyal-Alba, what inspired you to change from journalism to styling?
-I did journalism at CEU, and the fourth year I went to Milan, to the ‘Cattolica del Sacro Cuore’. I knew that, although I was studying journalism, I would end up being a stylist. This is what usually happens in many homes, or in previous generations, that until you finish a degree they are not calm, as if you were going to ruin your life. When I told them I wanted to study styling, imagine… they weren’t convinced at all.
-Had you always been clear that you wanted to dedicate yourself to the world of fashion and styling?
-Yes, since I was fourteen years old. My passion was born for John Galliano when I was at Dior, in those 2000s. I had a group of friends, many of them have dedicated themselves to the world of fashion, one is even the director of Victoria Beckham. We loved fashion, we bought clothes together because we had no money and we were always reading magazines. That was also the time of Dolce & Gabbana, but my great reference was Galliano.
© GTRES-Who have been or are your main references in the world of fashion?
-Galliano, Miuccia Prada, Rick Owens… my universe is divided, there are many. But at the time I started, Victoria Beckham was also a reference. In fact, I remember that in one of the first issues of the magazine Cuore I saw a model with some Dior Ski and I bought them right away. At first it was an aesthetic question, but when I understood that I could dedicate myself to this, I got into journalism, which in the end was communication. Then I did a master’s degree at the Marangoni Institute in Milan, and little by little everything fell into place.
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-Was it worth it to you?
-Yes, definitely. Although along the way it has always been difficult. I have had moments of uncertaintybut be freelance It forces you to take advantage of every opportunity. Now, with 18 years away from home, I feel more centered than ever.
-Your work has allowed you to make a name for yourself in the industry.
-I appreciate it, but I don’t believe it. I’m always thinking about what else we can do or what new projects to work on. I think you should never take it for granted that you have arrived somewhere, that is the beauty of this profession. My work is not conventional; I love not having a daily routine and always facing new projects. At first I worked more in the editorial and image world, because fashion editorials are still my favorite part, even though they don’t generate as much money.
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© GtresThe creative process
-What is it like to work as a stylist on a fashion campaign?
-For example, I have been with Carolina Herrera for more than five years. I always talk to the creative director of the project, who tells me which photographer and model are going to participate. From there, I create the looks according to what they need, whether for a campaign for glasses, bags or clothing. At the shows, the brands already have a team of celebritiesbut I make a selection of looks that are then presented to the artists. The difficult thing is when the selected looks don’t fit what the artist has in mind.
-Do they usually give in to what you ask? How do you reach an agreement?
-Depends. When it is a brand, they generally respect the codes and aesthetics. But when it is a specific client, I take their profile into account. Right now I’m working with Bad Gyal, Karol G and Elodi… I’ve also worked with Georgina RodrÃguez and Chiara Ferragni. There are artists with whom I work daily and others with whom I work for a video clip or a specific tour.
-How would you describe your creative process when working with artists like Bad Gyal, Karol G or Georgina RodrÃguez?
-Before starting the process, we make a ‘moodboard’ with our ideas and send them to the brand. From there, the brand sends us some designs and we refine the details: fabrics, colors, shapes… It is a team effort, although people are not always aware of the entire process that entails. Sometimes fashion is treated frivolously, but There is much more work behind it than it seems.
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© GETTY-On the other hand, a few days ago you dressed Karol G at the Latin Grammys. How many looks do artists usually wear for these events?
-Usually three looks: one for the red carpet, another for the performance, and a third, more comfortable look for when they sit down to watch the presentations. For example, Bad Gyal wore an Atelier Versace look for the presentation of his documentary. For Karol G at the Latin Grammys, we worked from scratch, we started with the designs, and after many conversations with the brand and the artist, we found the perfect look.
Your experience
-What qualities do you consider essential to be a good stylist?
-It is important not to be afraid to start from the bottom, to get mud on your hands. Before, fashion was more elitist, but today, styling requires good communication and knowing how to adapt to the client, be it a brand or a person. It is essential to have an open perspective and not impose your vision, but find the balance with what the client needs. I started doing very basic jobs, like opening boxes at Vogue Spain, and from there I learned how the whole process works.
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© GTRES-What have been the biggest challenges you have faced?
-Money has always been a challenge. It’s hard to get paid what you’re really worth, and for years I had to rely on my parents. But I never gave up. I knew that with effort and perseverance, opportunities would come.
-Have you had moments of wanting to throw in the towel?
-No never. I have always trusted that, even if opportunities come late, they will always come if you keep working.
Exclusivity is in fashion
-What trends are making a difference right now?
-Now artists seek exclusivity not only in current collections, but also in the brands’ historical archives. For example, iconic garments from the 70s that are rarely allowed outside of museums or private collections. The exclusivity is now in the archives, and those dresses are more expensive than the new ones.
© @elodie-What advice would you give to someone who dreams of being a stylist?
-If you have the economic possibilities, go outside of Spain. Learning languages ​​and living in places like Milan or Paris is essential. Spanish fashion is incredible, but the real opportunities are outside, where the personal connections and relationships that make the difference are found.
-Any curious anecdotes working with artists?
-One of the most memorable was when I worked with Paris Hilton, who dressed as Barbie. I also remember when I did a report with Pamela Anderson. It was fantastic. Or when I started I made a shooting with Lindsay Lohan, in Los Angeles. I have many anecdotes (laughs).