Miso Dam is the Young Stylist Shaping the Future of Fashion

August 26, 2021

Los Angeles-based wardrobe stylist Miso Dam is continuously changing the game and proving herself in an industry that has previously been heavily seniority driven. While attending Parsons, she began her career in the fashion world as the assistant fashion director at Barneys, and upon graduating, decided to make her way back to LA where she became the sought after stylist she is today. Although only having officially been in the styling industry for a few years, she has dressed icons such as Lil Uzi, Salem Mitchell, Dixie D’Amelio and not to mention countless editorials for office.

Most recently, Miso dressed Big Latto for office’s digital cover where she showcased her talents yet again and proved herself as an innovative leader and a driving force in the future of fashion. She has created a signature style within her creative work through plays on colors and mixing luxury high-end pieces while implementing smaller designers to give them their spotlight.

Interview by Cassie Jekanoski
Photos by Alyssa Cancilla

In an exclusive interview with office, Miso opens up about her success and how she got to the point where she is today.

Check out the interview below.

So first off what's up? What are you doing today? How's your day going?

It's going well. I am styling a music video up in northern California tomorrow and Friday. So today's kind of doing some last-minute pulls, making sure I have everything going and talking to the director about what we're going to do and all of that. So, pretty crazy, but I'm really excited, like really good people I'm working with.

Oh, amazing. Have you done music videos before?

Yeah. When I moved to LA I was very new to the whole music industry, so it's definitely a new kind of stomping ground for me, but it's different. And I'm learning so it's great.

Oh, it's so much fun. Especially you doing something that you don't do all the time.

Yeah, it's definitely an entirely different world working with music people versus fashion people. So it's definitely a whole new experience.

You've styled for office quite a bit. What have those experiences been like?

It's crazy because I lived in New York for five years and I just moved back to LA a year and a half ago. And so I love office. I was cleaning out my closet and I was like, "Oh my god, I have an office sweatshirt." So it's kind of really cool to work for them. And I feel like it's kind of a New York staple. I feel like everyone kind of has their moment with office. I've had friends intern there and been editors and work for them. So it's really cool that I get to do that but in LA.

Has there been a favorite shoot that you've been on?

I loved one that we just did. I just styled Big Latto for office, which was really, really fun. I always joke that when I moved to LA I wanted to style rappers. So it was really cool to style a female rapper and have a female team. I think the concept was super cool and kind of pushed me to do other things. Whenever I style for editorials, it's very brand restricted with sponsors and all of that. And when I style for office, they're very open to whatever I want to do. So it kind of pushes me to look for new designers. I'm always on Instagram saving brands, so for office, I always go back to those bookmarks. We use those brands when I'm styling office, which I really like because I'm so used to high fashion stuff. So it's really nice to kind of do something different.

I think one of my favorite shoots that you did was the Compton Cowboys.

It's funny because I went to one of their talks when I was still living in New York. They were doing a talk at the Soho House and I was there and I was so amazed. And then fast forward I got to style them and it was a really good day and the photographer Danielle Levitt, she's amazing. I've worked with her multiple times and she just has really good energy.

So can you talk to me about how you got started? What was the process for you to get to where you are today? Did you know that you always wanted to get into styling?

I went to school in New York at Parsons, and in my sophomore year of college, I think when I was 18 or 19, I landed an internship at Barneys. I had gone to Parsons as a graphic design major, so I think I applied for an internship for digital content or something like that. And when I was interviewing for the internship, the HR girl was like, "Oh, actually, the fashion director at that time had just quit. So the fashion assistant needs a lot of help in the fashion office." The fashion office is where you work with the buying team and discover new brands. So I had interned for the assistant fashion director my first year. And then they hired a new fashion director, Marina Larroudé who came from Teen Vogue. And I was just in love with that job.

I think growing up in the suburbs of LA, you really aren't aware of all these different jobs in the fashion industry. You either become a fashion designer or a fashion photographer. And so now I'm learning you can be a merchandiser there, you can do social for fashion, etc. And then my senior year of college, I got hired as the assistant fashion director at Barneys and then I did that for three years. When I graduated college, I was kind of really over New York. And so I was like, "let me just quit and move back to LA and see where it goes." When I first moved here a lot of people didn't know what I did in New York. I think they kind of just assumed like, "Oh, she's a fashion girl. So she's a stylist." So I never really planned on being a stylist, but it kind of fell into place. It's not something I was looking for, but it kind of just made a lot of sense.

I feel like great things happen when you're not really expecting them to.

It kind of just happened that Barney's was closing down as I was kind of deciding to leave. Something was drawing me back to LA and I knew that I could style differently than those who were in LA because I kind of got my footing in New York. So I was exposed to a lot more than people who lived here on the fashion side.

And you talked about growing up in the suburbs outside of LA and not really knowing about all of these fashion jobs. What was that sort of like for you?

Growing up, my parents did clothing production and so I grew up in the garment industry of LA. I think growing up I knew the hardships and working in fashion isn't easy. And I think I knew that from a very young age. I remember telling my mom, "I'm never gonna get into fashion," because my idea of fashion was always a fashion designer, fashion photographer, or fashion editor and I thought those were the only three things. So in my brain, I was like, "I'm never gonna make it as a fashion designer and I have no desire to open my own fashion brand." I really wanted to do writing and I wanted to be a journalism major. And so I applied to college for all different journalism classes and I didn't get accepted to any of them. So I think moving to New York, you're just exposed to so much more.

So what was the moment where you felt like you were making it?

I think when I first saw my name in print. I feel like that's such a mind-blowing thing. I honestly didn't think it was going to be a big deal. When I was at Barneys, we did print stuff and I was in charge of doing all the photoshoots of our catalog that was mailed home every season. But I think it hits differently when it's your name and it's not an assistant.

So I have been seeing all of your editorial work, and you really blend colors, textures, and fabrics really well. How would you describe your styling process?

I'm glad you said that, because I really focus on color when I'm styling, which I don't know if it's technically the best thing, but I love color. So even if the garment doesn't make sense but the colors do, that's how I would style things. And I always try to blend high and low. I'll mix really high-end pieces or something that's more body fitted with something a little bit more bulky and more casual. I style a lot of the people who are in their 20s, so I never want them to look uncomfortable and too mature for their age. I want them to look like an elevated version of themselves.

How much of your own personal style do you try to put into your work?

A lot, which sounds bad too, because I'm always just like, you have to remove your personal preference when you're styling. But I think people hire me because they see how I dress myself and I think they want that. I try to be conscious of the talent's style, and then I try to mix a little bit of my style.

I feel like you have a signature to your work and that I feel like your colors, your patterns, and everything that you kind of mix into different things. But I feel that kind of just by putting your own personal touch into things definitely makes you stand out.

My assistant just asked me, "how do I find my signature?" And I was like, "I think it just takes time." I think it took a while for me to have my signature.

Where do you get your inspo from?

Oh, my gosh, so many places. My mom's a really big stylish person, so I feel like anytime I style something, she'll give me her opinion if it looks good or not. And then honestly, I feel like Instagram is such a big part. I think during the pandemic, styling really took off for me. People weren’t dressing up to go out, I think they're just dressing for their own style. Also, random everyday people, even if they're not in the fashion industry, just their own style, what they see comfortable, and what they deem stylish for themselves. When I do a shoot, I look back on those inspirations.

What was it like for you during the pandemic in styling?

So I moved back to LA in the summer of 2019, so the pandemic hit six months after, and so I was barely getting my footing into styling. It's funny because I think when the pandemic hit, a lot of editorials moved to LA because there was just more space to do stuff during quarantine. I think my styling really picked up during quarantine and I was doing a lot of quarantine photoshoots where I was styling in my tiny apartment. And then dropping it off to the talent and putting a slideshow together of a style out and then sending it to them. I think it's also just learning how to work with New York when you're in LA. I think it's even the time difference and all the headquarters are in New York. So it's learning how to work with those PR offices and even working with editorial teams. I think it's a lot harder.

Working in the industry I feel like it's really seniority privileged. Have you felt that it's been hard to have your voice heard?

I was always the type of person to be like, "okay, keep your head down and just work hard and be humble." Like, there's nothing to brag about kind of thing. My background is on a corporate level, and I think especially at corporate, it's very about seniority and I think I was very lucky to have mentors and bosses who kind of just saw that I was working hard and eager to learn. They just allowed me to do a lot of stuff which allowed me to move up really high at a young age. When I started styling, there are stylists who have been in the game for 20 plus years that are getting gigs that sometimes I’m like, it would make more sense for me to be styling this talent, she's my age, you know, and has the same style as me. It is kind of tough when you see someone get a job just because of seniority when you know that your taste would be a lot more fitting. So that's definitely challenging. I think it's also challenging navigating a new city that is very celebrity-focused and them having their set style already. I think it's just kind of finding the gaps between this empty space and just finding those spaces and putting yourself out there. There are just so many people who are so good at these jobs that you kind of just need to be like, "Okay, what makes me different?"

And what would you say makes you different?

I think I know a lot at a very young age, and I think I just started very early. I think I have a lot of experiences and I've gone through a lot and I know how the fashion industry works. At a very young age, I think I've been able to use that to my advantage. I think a lot of people my age are just starting out assisting stylists and all of that, and I think the reason why I was able to kind of just start working for myself immediately was because of the relationships I built when I was at Barney's. So that's what makes me different because I think a lot of people who live in LA don't have the experience of New York and working at all these big fashion companies.

Do you have any advice that you would want to give to somebody? What's the best advice that you've received from your bosses?

Learn as much as you can. I would say if you're not going to go to college, assist someone. I think being someone's assistant is literally the best thing you can do. I was someone's assistant for three years and did the grunt work because you really learn. I think when you assist someone, you kind of learn what you would want to be as a boss. Everything I learned from my bosses and mentors, I kind of carried with me being the boss and working for myself. Don't complain, I think everyone has put in their fair share of fetching coffee, packing up samples doing all that. Don't ever think you're good enough because I think there's always going to be someone that's better. Yeah, but learn as much as you can. I'm literally still learning and I'm going to try to learn as much as possible. I think the more you know, the more you can do it, the better. I think everyone has multiple things that they can do.

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ECCO.kollektive collaborates with Louis-Gabriel Nouchi

November 21, 2024

ECCO.kollektive has teamed up with Paris-based designer Louis-Gabriel Nouchi for a bold and innovative Spring/Summer 2025 collection. Known for his thoughtful exploration of masculinity and storytelling in fashion, Nouchi brings his unique perspective to this collaboration, blending his modern aesthetic with ECCO’s skill in craftsmanship and material innovation.

The collection features a range of footwear, clothing, and accessories, each designed with attention to detail. The collection uses a mix of black, deep red, and pearl white. Sensual touches, like Nouchi’s signature slits, combine with structured tailoring and flowing shapes, showing how the designer blends bold and refined styles.

We spoke with Louis-Gabriel Nouchi about the collection and his inspiration. From the textures of the human body to his love for stretch leather, Nouchi shared how the collaboration allowed to experiment with new ideas.

By Enzo Holdt
Photography by courtesy of ECCO.kollektive x LGN

The collection debuted at Paris Fashion Week and draws inspiration from the textures of the human body. “The idea came from the textures of skin,” Nouchi explains. “I wanted to create something sensual and fluid, using leather in a way that felt both strong and soft. Leather has this amazing quality—it can feel like armor, but also like a second skin.”

Nouchi worked closely with ECCO to develop designs that showcase the versatility of their materials. High-shine biker nappa leather with a waxy finish appears in tailored separates like a single-breasted blazer, trousers, and long-line shorts. For a more experimental edge, he created a column dress and a pencil skirt using strips of leather embroidered onto stretchy tulle—a design he says was inspired by his younger self. “When I was young, I was obsessed with stretch leather because of designers like Jean-Claude Jitrois. It’s something I wanted to explore and bring into this collection, almost like fulfilling a dream for my past self.”

Footwear is another major highlight, featuring Derby shoes, Helsinki loafers, and the standout Truck Lace loafer with a bold platform. The shoe’s futuristic design draws from Nouchi’s fascination with brutalism and technology. “It might be a bit controversial,” he says, laughing, “but I really like the Tesla Cybertruck. The sharp, angular lines and futuristic look combined with that raw, brutalist vibe—it’s something that resonates with me. The platform on the Truck Lace loafer feels like a nod to that kind of design.”

Another unique detail is the inclusion of removable coins on some of the shoes, adding a playful yet personal touch. “You can take the coins off—it becomes almost like a lucky charm,” Nouchi says. “It’s one of those small details that make the pieces feel more connected to the wearer.”

Louis-Gabriel Nouchi’s signature slit motif, which adds subtle hints of reveal and concealment, runs throughout the collection. “The slit is about teasing the eye,” he explains. “It’s never about revealing too much—it’s about creating tension, a little mystery.” This motif appears on everything from loafers to hems, blending seamlessly with the collection's sensual yet structured aesthetic.

When asked about the versatility of his designs, Nouchi emphasizes their adaptability to different occasions. “You can wear these pieces in super casual situations on the street, looking super chic at night—super sexy,” he says. “From one garment, you can style it in so many ways during the day. For example, the tank top—you can wear it with pants, or without. It’s super hot, super cool, and it works for so many moments.”

For Nouchi, the collaboration with ECCO was as much about innovation as it was about creative freedom. “There are no limits with ECCO,” he says. “As a designer obsessed with materials, having the freedom to push development this far was an amazing opportunity. Fashion, for me, is like a laboratory. It’s about testing ideas and seeing how far we can take them.”

The ECCO.kollektive x Louis-Gabriel Nouchi collection is available now, combining high-quality craftsmanship with bold, modern design that showcases Nouchi’s vision and ECCO’s craftsmanship.

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Escaping the Glass Cage

November 19, 2024

For years, she stood still, watching life rush past her, a quiet observer behind the glass. Now, the glass is broken, and she steps out into the unknown. She walks through the city, caught between two worlds—part of it, yet apart from it.

Her journey is quiet but bold, searching for something she’s never understood, something just out of reach. On church steps and under glowing city lights, she questions everything: the rules, the past, and where she truly belongs. Each step feels both freeing and uncertain.

A curious soul in a borrowed life, she keeps moving forward, leaving behind only whispers of her escape, like a fleeting shadow in the night.