Mondo Guerra, Emily Lane, Bret Schnitker
June 3, 2025
Mondo Guerra 00:00
When I think about fashion and good fashion, it's always about innovation and what's the new idea. And I think with drag, it's such a good way to explore new techniques.
Emily Lane 00:26
Welcome to Clothing Coulture, a fashion industry podcast at the intersection of technology and innovation. I'm Emily Lane.
Bret Schnitker 00:34
and I'm Bret Schnitker. We speak with experts and disruptors who are moving the industry forward and discuss solutions to real industry challenges.
Emily Lane 00:42
Clothing Coulture is produced by Stars Design Group, a global design and production house with more than 30 years of experience.
Emily Lane 00:52
Welcome back to another episode of Clothing Coulture Today, we are thrilled to welcome a true visionary in the world of fashion, Mondo Guerra, known for his fearless use of color, bold patterns and deeply personal storytelling through design. Mondo first captured the public's attention on Project Runway Season Eight, one of my favorite seasons of all time. His talent and authenticity left a lasting impression. His courageous decision to share his HIV positive status on the show resonated with audiences around the globe, making this a pivotal moment in television history and advocacy. Since then, Mondo continued to inspire winning Project Runway All Stars, mentoring, merging designers on under the gun and leaving his mark on pop culture with designs featured on Ru Paul's drag race worn by some of the most iconic drag performers in the world. We're thrilled he's in town today a guest of the alt ball, which is a spectacular event that is going to happen, featuring designers, artists, drag queens, circus performers, all kinds of amazing talent. The clip will be showcasing avant garde creations on the runway raising funds for doorways, which is a really incredible organization. This organization is dedicated to providing emergency housing and supportive services for individuals living with HIV in St Louis, across Missouri and Illinois. Every year, these programs serve over 3000 people facing homelessness and poverty with supportive services to stabilize and rebuild their lives. So this is just a wonderful thing that is happening in our community that, of course, sets up this opportunity for us to have a fantastic conversation with you. Mondo. Welcome.
Mondo Guerra 02:46
Thank you so much. So happy to be here.
Bret Schnitker 02:49
And second seat, second run of the alt ball, and it's fully booked.
Mondo Guerra 02:55
So that is really, I think they saved me a couple of seats, but I
Bret Schnitker 02:59
think we're standing remotely,
Emily Lane 03:04
well, it is a sold out event, but we're going to be there as press capturing all kinds of content. So for those of you who are listening to this sort of like, I want to see this spectacle, don't worry. We're going to make sure and share all kinds of things while you're here. I want to start out a little bit easy. I want to just hear a little bit of your foundation story, when did you know that you fashion design was going to be your thing and you could make a career
Bret Schnitker 03:26
out of God help you getting?
Mondo Guerra 03:29
Am I in the business? I don't know
Bret Schnitker 03:32
if we asked the same, yeah,
Mondo Guerra 03:35
yeah, should we be? I mean, you know, I I've always been a creative person. Ever since I was a young kid, I found art through hardship. My dad was in rehabilitation a lot through my childhood, and I'd visit him at the hospital, and he would share with me his gifts and his one of his gifts was watercolor. And so I started doing watercolor when I was four years old, and I did a painting of a bouquet that he had on his table side, and it ended up in my grandmother's house on the wall, and that made me feel very good, you know? And it was just those kind of moments that really drove me to continue to find creative outlets, and I was always trying to find things that that allowed me to escape. Because Art has always not only been my best friend, but it's always been escape escapism for me, especially when I was a younger kid, because it was the only thing that I felt I understood. And it felt like it understood me as well, if that, you know, allowed you tell your story too. Yes. I mean, I didn't realize that when I was a kid. I think looking back, I I know that. But. Yeah, I think for me, it was just escapism. And then I really wanted to be a dancer when I was, like, six, seven years old. But also being a Latino male, like my parents were like, you know, boys don't dance, that whole story, and so that was kind of a heartbreak. Miami, they'd argue, you know, I know, I know so like that was a little heartbreak, heartbreaking, but they did allow me to play the piano, but that was also a give and take, like I was able to play piano if I also played baseball, and baseball was terrible. I was not good at baseball, but I did excel at piano, and I continued playing all through high school. I went to a arts program, Denver School of the Arts, and I was a piano major, and my my dream was always to become, you know, write scores for film, be a composer that was like, really where my heart was, and I was planning to go to college for that. But during, you know, the there, my high school was very competitive, and piano was, like, one of the hardest disciplines, just because everybody was really, really good, and so we were really pushed hard. And I was like, in everything at that point. I was in jazz band and marching band, I was in youth pops Orchestra, and then I was a piano major on top of that, you know. So it was just like, booked music, music all the time, and it was hard, it was competitive. And I will say that I kind of like, got burnt out on top of that, you know, I was figuring out, like, who I was as an individual, like what my identity could be, what it should be. I don't know, you know, figuring it all out and fashion for me at that point as an 18 year old, was a vehicle to explore something new, and
Bret Schnitker 07:03
Did the school offer anything in fashion, because so few schools, especially high school, not
Mondo Guerra 07:07
not at not at my school, they didn't even have a costume design program at that point, you know. So that wasn't an opportunity. And so through that exploration, I started to attend raves. Remember raves? I'm saying this because I saw something the other day, and they're like, there's this girl talking about, like, raves aren't raves anymore. Like we used to be able to put down our backpacks and our phones on the floor. I'm like, when I was going to raves, like, our phones were attached to the wall. Yeah, right. We didn't have phones to, like, lay down on the floor there anyway. So when I talk about raves, I'm very passionate about it, because that's really where I found my identity and my introduction to fashion, because it was a safe place to really express myself through, I mean, through a look, you know, through creating, you know, different ideas, developing ideas through costume and fashion. And so I was doing that every weekend, and I got really, really involved with it, really involved in that scene. I finally got to dance. And I dance, yes, that's a good point. And I loved, loved that. And, you know, I just started getting recognized as that guy that would always come out in these crazy, crazy looks. And it felt good. And I just kept at it. Then I met my mentor, Susan Murphy, who was a fashion designer in the 80s, back in LA, and she just really helped me, you know, figure out, well, she was very much that mentor. That's about foundation, you know what? I mean, like, you have to learn this, this, this, this, before you start exploring and getting experimental. And which is sort of what you know, I'm, listen, I'm I am a fierce believer and foundation, whatever that means to you, like, figure out what your foundation is like. When I see a young creative person, I know that that creativity comes from a deeper place. You know, whether you have history and you know, or an interest in, like, I don't know, medicine or whatever it is, you know, like, my foundation is music. And I feel like, like playing piano and composition. I feel like that's what I apply to fashion now. And I always kind of think about, like, how I'm able to mix prints. It's kind of like the treble clef and the bass clef and how they pair up and they make music. You know what I mean? So I just, I think about that kind of balance when I'm doing the fashion stuff. But yeah, to make a longer story shorter, that's kind of how I got into fashion.
Emily Lane 09:57
That's sreally fascinating. I can see how. You being an artist, how well that informs your creations today. Your work is art.
Mondo Guerra 10:07
Thank you. I, I, you know, I'm so hard on myself. I, you know, I always want to do more, and it's hard. You know, it's, it's, it's an I'm not always happy be known for one thing, but I'm happy to go back to that, but I'm also wanting to explore more. So I just-
Bret Schnitker 10:29
Life is a journey of exploration, right? Every major artist, whether you paint with a brush or you paint with fabric, they're on this journey of exploration, and they never end. There's always an evolution.
Mondo Guerra 10:40
Well I'm looking for the next corner. I'm ready to turn that corner. I don't know what it's, what it looks like, or what it's going to be, but I'm ready for for that. And I think I'm figuring that out. I don't think the figuring out ever ends either.
Emily Lane 10:53
No, of course not. Are you an introvert or an extrovert?
Mondo Guerra 10:59
I don't even know how to answer that I feel like I'm moody. Okay, you know? So sometimes I can be an extrovert. Most of the time I am an introvert. Being on the show, when I showed up, I was very much an introvert, because I was never like, I was never like the cool kid in class, and I was never out going to do like to, I don't know, to even be present and have people understand me or get to know me. And I think when I was on the show was the first time that I was where I felt like in a new safe space with other-
Bret Schnitker 11:36
In front of millions and, well,
Mondo Guerra 11:38
we, I don't, I mean, I don't think, I didn't think about that when we were on the show. I mean, there's lots of cameras around you, and, yeah, you're on TV, but I've when you're there, it's just kind of like you're with this group of people that are pushing you and that you that you see doing amazing work, and you're inspired. And it's like a It's just very, it's chaotic and difficult and hard and emotional, but it's also very, oh my god. It's so giving. And on top of that, this was a group of people that really that I understood and they understood me, and it felt like a very, very safe place, and I think that's why it was such a great experience for me.
Emily Lane 12:27
So I I'm just curious being this kind of introvert at the heart. But you know, you're what you're what you exhibit as an artist is almost that of an extrovert. How did that experience in a in a very public way, on Project Runway? How did that shape your perspective, perspective as a designer after that, and was it hard for you to go to being more in the public eye?
Mondo Guerra 12:56
Um, it's a little give and take. Because again, when I arrived to Project Runway, I wasn't I was I wasn't allowing myself to be visible as an artist. I never considered myself as like an artist. And I think when I was on the show, there was a lot of validation, and not only from the judges, because, let's be honest, the judges, I don't know about that, but I will say, the validation from the other creative people that you're spending weeks and weeks with that was really important to me, you know, and it's still very important to me. I love I love those people so much. I I feel like it impacted me in a way that I think impacted me on in a way that I'm able to be confident in my work enough to be able to share, and let's face it, like once you're on that show, People want to see it a lot a lot, a lot more. And sometimes, you know, I the, the one thing that I didn't like about being on the show is that, you know, I was known for certain things, and so your fan base and the people that love you want that from you all the time. So that was very difficult to kind of break away. And I think I did break away for a while, and just because I felt like I wanted to get rid of the brain, yeah, I wanted to get rid of that. But I'm back, and I'm comfortable in what I, you know, created, in that in that territory, in that moment of my, of my life.
Emily Lane 14:42
Gosh, yeah, so you know, you've you've evolved. You've trying to constantly evolve your style, and you you kind of got yourself known for a specific esthetic. How do you balance self expression with commercial viaability?
Mondo Guerra 15:01
Oh, that's, that's a, I mean, good price points. I'll say that. Like, good price points, honestly, um, and I think, you know, like, I think there's as creative people, we always want to create the fantasy and create the art. But we also know that there's a consumer that's not necessarily going to buy a runway piece, you know. So it's really important for us to think as business people and understand that there are certain things that we can, you know, pull back a little bit and make it a little bit more, you know, like easier to digest, you know. And imagine that in your in your wardrobe,.
Bret Schnitker 15:48
That is a big shift. You know, we talk to painting artists all the time. Em's got a real big community of them, and we talk to designers. And while the goal for both of them is the same, hopefully. You know, painting artists make money while they're alive. Most of them make a lot more money after they're dead, right? You know, those paintings can a lot more valuable. But specifically in designers today, the goal is commercial acceptance, at least, to make a living, and it you've touched on so many really interesting points. We've got a small community of designers and growing here in St Louis, they all share the same challenges. You do. They all come from a space. They they're developing their own DNA. They're developing their own expression. So many of them have been lone wolves, and they battle with the security, they battle with all those things. And they're, I think one of the solutions is community. And you've kind of pointed that out today, that the community on this show kind of helped build.
Mondo Guerra 16:45
I mean, as a creative person, person, when you say security, it's like, not only, you know, financial security, but it's also emotional security and confidence, you know, I mean, and artistic security, You know, there's for me, I always separate individual from artists. You know what I mean? And and that's very important for me to stay sane. Because if I was just truly focusing as on myself as an artist all the time, I don't think I'd be able to get through it. You know? I also have to think about your community, my community and myself as an individual, and that's something that I've learned to answer your question since being on the show, yeah, do you go to therapy? No.
Bret Schnitker 17:34
Do you think you're still developing your DNA? Do you think you're still developing this kind of trajectory that you're on or-
Mondo Guerra 17:41
I think I know I am settled into what my DNA is, but I'm also learning and finding new ways to evolve and also to adapt there's and present it in new ideas that maybe the audience doesn't recognize it as polka dots or stripes or whatever it is, you know, but in my mind, this is my new way of showing that.
Emily Lane 18:14
Yeah. So, speaking of adapting, you know, you you started experiencing your self expression through costume at raves, found yourself on Project Runway, which is very fashion focused, and now here you are known for dressing some of the most iconic drag queens. Like, tell me a little bit about that trajectory of costume high investment designer,
Mondo Guerra 18:42
right? Well, I you know, I think for me, my my work has always been on the verge of costume. I've always been told that, and I'm okay with that. And I think it translates to a stage very well, especially for performers. And I think it was just kind of a natural progression of what I would like to do. I mean, I started when I really learned to sew. I was working in a costume shop, you know. And it wasn't my designs, but I was, I was around it all the time, you know, the skills and now. I mean, come on, drag queens, they embrace, at least the ones I work with. They embrace color, they embrace print. It's just always new, like, they embrace subtlety, not so much, but I will say, you know, like, and also with drag, it's like, always, like, when I think about fashion and good fashion, it's always about innovation and what's the new idea. And I think with drag, it's such a good way to explore new techniques.
Bret Schnitker 19:45
No holds barred. They want something-
Mondo Guerra 19:46
so much innovation and just figuring out. I mean, I get so many different requests or ideas from the queens that I'm like, Okay, now, how do I figure this out? Like, lately, I've. Dipped into, like, I don't know, molding, and also, like 3D printing and like all these things I never thought I would explore, but like, I need to to keep it like fresh, because, let's face it, the drag community is coming up with like crazy innovation and new ideas all the time, because they always want to be the best, you know what I mean. So it's, let me tell you, it's really, really hard. It's hard to keep up. It's very hard to keep up. And also, because the fans of the Queens now are very, how do I say, very opinionated. And that's the other thing. Is, like, when we were on the show, there wasn't a lot of social media, so I missed that, and I'm kind of happy that the daily stream, yeah, yeah. But also, like, now that I'm designing for so many queens that are that have a huge platform, you know, like, I'm reading those comments too, and a lot of it comes back to, like, what they're wearing, or how they're presenting themselves. And, you know, as a creative person that designed something for this artist, it trickles down, you know what I mean? And it can it, it's hurtful, it's painful.
Emily Lane 21:17
my gosh, you know you're so emotionally invested in in in what you're doing, and it and it represents who you are, represents your heart. Yes, of course. You know drag queens, they they put on a show. They've got music. It's big part of of that whole experience. When you're designing for a queen, are you? Are you using your music interest to, kind of inform design.
Mondo Guerra 21:44
yeah, I think, you know, I definitely, you know, I think that music is always a part of the process. When I'm designing something, I probably will find a piece of music and I'll have it on repeat in the studio, like, over and over and over and over, just because it's, I don't know, it's a mood. It's a mood. It's incubating the whole idea, yeah, that's totally, totally part of the process. So
Emily Lane 22:09
what are you listening to right now?
Mondo Guerra 22:10
Oh my gosh. You know what I'm listening to right now. You guys are gonna gag. I am listening to Sunset Boulevard. Oh my gosh, the Nicole Scherzinger recording from London. I think they've recorded it on October 14, 2025 and it's a live recording. And so like you can hear the audience respond, which I really, really love. I'm obsessed with Sunset Boulevard. Listen, I didn't know Nicole was a powerhouse. Have you guys seen it?
Emily Lane 22:39
I have not.
Mondo Guerra 22:40
Okay, like anybody has that has not seen it, if you make it to New York, go see it, because, like, Nicole, and it's only like on for another month. She is amazing. I never thought a Pussycat Doll would be able to perform that well, I'm sorry, but it was amazing. It was so, so good. I've been back three times. Wow, yes. And the last time I got, I got to meet her backstage after her show, after she just put out this emotional experience, and like, she was covered in blood, and she's still, you know, back there, and she's just like, Hi. I'm like, Oh my God. Like, how do you come down from that, you know? And the best part was, when I went backstage, I hear this little voice, and I turned the corner, and guess who it is, Bernadette Peters, wow. So it was, like, it was like, a double like, oh my gosh, moment. Yeah, it was so, so good. So I hope I get to go back one more time before they Well, she leaves the show. But yes, that's what's on repeat in my studio right now.
Emily Lane 23:37
All right, sounds like we got to make another trip. Yeah. It's so good. You've, you've really been able to align yourself. You know your your success with advocacy. Tell me a little bit more about that, how, how it's a key driver, and what are some of the things that you're really focused on today?
Mondo Guerra 23:59
Oh man, I It's, it's, I don't want to say it's a difficult conversation, but I will say that the conversation has changed a lot, yeah, especially since I came out on the show, which was in 2010 I believe. I mean, there's just been so many advance, advances in medicine. I feel like, with the current climate, I think that conversation is totally changing. Yeah, you know, when I was-
Bret Schnitker 24:31
It's two steps forward and one step back, or one step forward, and two steps back.
Mondo Guerra 24:36
It's a lot of two step in, yes to say that. And so you know, when I'm asked about advocacy, I don't know where my voice is the most important right now, to be honest, because everything's all over, so I can only talk about my personal experiences and what I'm feeling today. You know what I mean? Um.
Emily Lane 25:01
Yeah, well, authenticity is key, right? I mean, and that's what resonates with people.
Mondo Guerra 25:05
I think, for me when, when I think about it, and the whole arc of it is, when I was, when I was diagnosed, it was 2000 right? And then I came out in 2010 and now it's 2025 so I was only going to get medical and health help for 15 years, and so that was more recent and but when I was going to these organizations, they were called HIV organizations, and now they're called health clinics, because they're still, you know, because there's investments, and everybody's being helped. And I don't know how I feel about that, because I think it's still important to have that, you know, have HIV in the conversation. Actually say the word Yeah, you know what I mean, because I don't think that a lot of people
Emily Lane 26:04
like it's getting washed over,
Mondo Guerra 26:05
yes, yeah, exactly. And so it's, it's still important to talk about HIV and know that there's still not a cure, and that people are still dying from AIDS.
Bret Schnitker 26:20
I mean, there are so many advancements that are occurring, and I understand the challenge you're dealing with, because you look at today's society and where I think we made so many strides and acceptance and more understanding, you know, through LGBTQ, you've got a full trans community that was so sidelined, high mortality rate in terms of suicide, and you think that we're evolved as a human race enough to say, look, there's this diversity, there's these people that are struggling with identity. We need to care for them. And then all of a sudden, almost overnight, it's like, Look, we're not only not going to care for them, we're going to sideline them again. So I understand that whole challenge with where do you put your advocacy? Because in some ways, HIV AIDS has made so many progressions where people aren't going to die if they get the right help and attention. So you're kind of like, okay, look, we've made advancements, and the big concern is if there is a pushback or a an alienation of the people group that are getting help from the medicine. Is that entire thing going to be wiped away too, right? Right? Because it's it's frightening to see the shift in mentality today.
Mondo Guerra 27:34
I also think that because there are different advancements in medicine and treatment and proactive drugs and whatever it is, I think that also comes hand in hand with more irresponsibility, and that's something that we're not talking about, you know. And I feel like that is something that needs to really be put on the table. I will also say that it's when I think about my advocacy and how it has changed over the past 15 years. A lot of it has to do with not only knowing at what moment I was diagnosed and the moment that I came out, and knowing where I'm at now, but also respecting what had happened before. And one thing that I experienced as an advocate is being on a panel with, you know, five other advocates, and one of the advocates was a person that lived through the 80s in New York City, and my story wasn't valid to her, because I didn't live through the 80s, and so I didn't know the pain that she felt,
Bret Schnitker 28:48
where death was real.
Mondo Guerra 28:49
You know what I mean? That was very hard for me to to to accept, and it really upset me because, you know, like I'm not, you know, I respect your experience, but in some way, because I didn't have your experience, you're not understanding my own personal experience, you know. And I don't want, I don't want anyone, I don't want anybody to ever feel that way. I want them to know that, you know, their their experience is very important, you know. And it's very important-
Bret Schnitker 29:20
It's part of the overall story. It's very interesting the reply that she had,you're part of the continuing story, right?
Mondo Guerra 29:27
Yeah. I mean, it really did. It really did affect me, because I I know the history and really respecting somebody from that part and that era, like coming at me and telling me that my, you know, it was just very, very difficult, and I really questioned, like, right? You know, like, what is, what's the value in my conversation?
Bret Schnitker 29:51
You have value. People are broken. They, she, you know, that person has baggage, right? So, yeah, you gotta live with people. People, they're just kind of messy. We'reall kind of messy, but at least the stories continue.
Mondo Guerra 30:03
You're messy.
Bret Schnitker 30:05
Definitely, no question,
Emily Lane 30:08
no, I can see how that would be confusing, because you're you're somebody that really thrives in community and the supportive community and and and the safety of community. And that almost feels like it was a conversation that didn't feel so safe.
Mondo Guerra 30:20
yeah, it was, it didn't feel safe, and it was embarrassing to be honest, because, you know, we're, I'm on this panel where people came to see us, and it we were all talking about our experiences. But for some reason, my experience wasn't, wasn't valid, and I don't know why I brought that up today, but like, it's still, it's still very, very present, present, yeah, and it was probably, maybe, like, eight years ago. But I think when we talk about the conversation and where it's at today, yeah, you know it's, I will say that everybody's experience and everybody's story is certainly valid, and that still can relevant use HIV and AIDS in the conversation actually talk about it?
Emily Lane 31:06
Yeah it's so important. You know, being that you are in a more public figure in this industry, are there misconceptions that people have about you that also hold a weight on your heart
Bret Schnitker 31:24
Is it tough being famous?
Mondo Guerra 31:26
Listen, I don't, I don't, I don't think I'm famous, but I will say that the hardest part is social media. We had talked about that earlier, and I feel, you know, as a creative person, there's so much, there's so much pressure to always produce now and always share it, personal pressure, or external pressure, external pressure, but also that like, again, that also comes back on me. I'm like, oh my god, I have to share this. I have, I have to, like, do a video of the process, and I have to figure out how to, like, well, I don't know what do you call it? Clip it up. Like, what do like, put it in a reel. I think I've done two reels in my life, and it took two days, I don't know.
Emily Lane 32:07
Yeah, it's not enough that you're a designer. You have to be a marketer, you have to be a salesperson, you have to be a business person. You have to do all exactly
Mondo Guerra 32:14
And I'm still the type of person that you know. I don't use any technology or computer to design. I'm still very much that person that draws by hand on a piece of paper, and if I make a mistake, I cut out another piece of paper and paste it on top. You know what I mean? Like, that's how I work. So the I think that's the hardest part, is, like the social media that puts a little strain and heartbreak.
Bret Schnitker 32:41
and you're not alone. I mean, not only the social media that would be incoming, but the pressure to output social media, to drive the marketing efforts, you know, where Emily's really trying to build this new United Coulture kind of thing, where we're trying to help designers help themselves in the business of fashion, and every time we talk to somebody, the answer is the same. It's like, Hey, I love your thing. Where can I get it? Oh, I had an Instagram. It got hacked. I didn't rebuild it. I didn't have time, right? You know, it's, it's classing through the community, where it's so similar.
Mondo Guerra 33:15
we have to be our own production company at this where I don't, I don't. It's, it's hard. It's really, really hard. It takes a lot of time, yeah, like, not only, you know, working in the studio and working on a dress for 10 hours, 12 hours a day for a week. On top of that, you have to, like, take video while you're working on it, and then at the end of the week, take three hours to put a real together, you know what I mean? And, oh, my god, the tagging, the tagging is stressful. That is not a safe community. I'm sorry. Like, people will get so offended if you don't tag them or the credit, you know, like I have younger people that work for me and and I understand that they want the credit, but when I think about my personal experience, I was like, sewing zippers and purses for $1 a zipper, and those zippers took forever until I figured it out. You know what? I mean, yeah, but I didn't get any credit for that. It was just like something I did, you know, it's like, and I get it, I really do get it. But like, the social media just is like, I don't know, I don't want to say it takes away the fun, because in a lot of ways, listen, I'm on it all the time. Yeah, I find it interesting and fun. But for me, as a creative person, it the energy is,
Emily Lane 34:39
I can see it breaks your stride, your creative stride,
Mondo Guerra 34:43
exactly. That's, that's, that's the point. It breaks the stride. You know, like you, you want to be creative, you want to have fun, you want to enjoy the process. That's the biggest, like, one of the biggest things I always tell young creative people, they're like, What do I need you do to get better? Mm. Enjoy the process. Just allow yourself to have fun with it, you know what I mean? And I think for me, having to post and respond and tag and all these other responsibilities on top of just, you know, being nice to yourself, which is for me, you know, yeah, just being in the studio, it's hard, yeah,
Emily Lane 35:24
so this business of fashion that we're talking about, it's very social media heavy these days, you know, especially since retailers are now in this place where they don't want to be the driver, yeah, the pioneer behind new brands. What are some things that you're doing to stay relevant to your customers and as a designer?
Mondo Guerra 35:47
lately, I've been doing more one offs, one of a kind, things, and I just started a new little I want to call it a category, because I wouldn't call it a label, because I'm not making like a bazillion things, but I've started this new thing called Mondo Guerra Gallery, and it can be anything, you know, so it's like, maybe one month it's gonna be a bunch of shirts with a bunch of, I don't know, whatever on them and decorated. And I don't know, the next month it could be hats, and next month it could be shorts, or maybe it might be a mix of but I'm gonna try to do it every, every month at this point, and that's only going to be like maybe a drop. See, I even learned that on social media a drop. I'm gonna capsule a little drop of maybe eight pieces at a time. You know, nothing major. I think that's the, I think that's the joy in being creative. So on top of it, I'm not only spending time in this studio working on looks for performers, but then I also get to come back and have like fun for a week with, like, creating six looks that I know that my customer is really going to appreciate, you know, and I will say that, like, I have a really good mailing list, and the people that buy from me, they're consistent, you know, great, and they appreciate it. So that's, that's nice.
Bret Schnitker 37:11
Little tidbits of wisdom. And, you know, we talked to a lot of designers, and everyone always thinks it's such a glamorous business, right? Everyone thinks, Oh, my God, they're designers.
Mondo Guerra 37:19
You don't think I'm glamorous?
Bret Schnitker 37:22
Everyone thinks everything is actually. Everyone outside goes, Man, this is such an exciting business, right? And when you, when you dialog with designers, and there are so many struggling you, you really talk to them, and it's like they love it. They want this to be their career. They can make ends meet. You've reached commercial success. What advice would you have for them? What did you What are little tidbits of wisdom along the way that that you could provide to them where you're at?
Mondo Guerra 37:53
Oh my gosh. Again, I would just say you know, and it might sound so generic, but enjoy the process and find your people you know. And I mean, even as much as we talk about social media, and for me, in a negative way, it can help you, you know. So like, I think, as young designer, as a new designer, it's important to really find out what that niche is, I feel like there's so much content out there, and fashion is so saturated, and there's so many different ideas that you can be attracted to find out what your niche thing is like. Really focus on that you know, and put yourself out there.
Bret Schnitker 38:41
You should find your people. I think that's super important. Like, every super successful designer has their tribe, right? Yes, people that surround them. And you're like, Oh my God, everything they do. Em loves Alexander McQueen. Everything comes out, you know, his legacy carries on. She loves the DNA of that brand. You know what it stands for. How did you develop your tribe? I mean, how did you know, as an introvert,
Mondo Guerra 39:06
I like I like that. You're talking about that because when I after I won all stars, and I went back to do, to do Under The Gunn, it was easy for me, because I was, I was was making money by traveling and doing conversations about art and with universities, and so money was coming in, and I had collaborations with Crocs and See Eyewear, and all this stuff was coming in, yeah. So it was easy for me to get out of that way of me as an artist, because everything was being manufactured by and managed by everybody else, but I was still getting a paycheck, yep, you know?And that cameand that came every three months, and that was great, but I wasn't happy because I wasn't doing things for myself, you know what I mean? And so I. I kind of lost my tribe, as we talk about and then when, what was it called quarantine?
Bret Schnitker 40:08
Yeah, COVID, COVID, yeah.
Mondo Guerra 40:13
When that came around, I saw people making masks, and I was like, Okay, maybe I'll do masks, because I'm not doing anything else. And so I take time to curate three reversible masks every week, and I'd put them out every week. And I think this happened for a year, and customers were still coming back. So I did it for almost two years, and it was a very successful business. But during that a lot of those people that saw me on Project Runway and liked my work were talking to me about like, why aren't you doing this, or why aren't you showing this anymore? And so reconnecting with my tribe really pushed me to con to go back to it and really start focusing on my on my happiness, and that happiness being providing things for people that like me, and that was very, very, very helpful.
Emily Lane 41:09
You know? What I like about that too, is making a mask is a small thing. It was a very needed thing. But it was by you offering this small thing. It allowed you to reconnect with people. It doesn't have to be a big-
Mondo Guerra 41:23
it was, it was really, really awesome, because every week I'd put it out, I'd write a letter about what the inspiration was, and people would share with me, like, oh, I bought this t shirt from from you in 2010 they'd send me pictures. They're like, I still got it. Or like, I remember when, you know, you were on this episode, or whatever it was, you know, they had a certain connection. And I think during COVID, there was a lot of that people, because they were
Bret Schnitker 41:53
cooped up,
Mondo Guerra 41:54
cooped up, they wanted to reconnect to something that they recognized and felt safe with. And I felt like that felt that felt very good to me for people be reaching out after 10 years, you know, talking about, you know, this and that, and I provided that safe space for them. And so, yeah, I think that tribe was really, really, really helpful. And finding my creative happiness again, because I, because, listen, I, when I was doing Crocs and See and all those different collaborations, I was, I was happy in the way that I
Bret Schnitker 42:37
Well, you were bringing in some cash,
Mondo Guerra 42:39
exactly, but I wasn't experimenting and being as creative as I could be
Bret Schnitker 42:47
Because part of that was kind of ready to wear watered down,
Mondo Guerra 42:49
yeah, exactly, and mass produced, yeah. And now, so I think now, with doing custom and one offs for stage performers and artists, and also creating this MondoGuerra gallery, it allows me to not only reconnect with myself, but also reconnect with my tribe.
Emily Lane 43:10
That's fantastic. Yeah. So as you are starting to think about the next era for you and your brand, what are some key goals that you're looking at?
Mondo Guerra 43:21
oh, geez, I think a goal is to really push the brand in a way where I have a, you know, a constant, a constant in product with good price points and that are very accessible, but also being able to provide a price point where it's more focused on the creativity, but all produced by me and controlled by me. And that's something that I really I know listen, because I am not a business person. I did. I actually, I know that I'm not a business person. I'm a creative person. Numbers actually depress me. Yeah, you know what I mean, because it's just like, Oh my God. Like, how do I continue this and still be happy? But also, like, make money and find the time. Like, it's all it's all numbers, time, money, like, everything. And was like, Oh my God, you know, and I'm not a numbers person. Listen, I was in algebra as a senior in high school. Let me that that tells you how that I am with numbers.
Bret Schnitker 44:31
I was the same. I fell asleep in algebra. I thought numbers had nothing for me. And I really started designing in my career. But as I took over the company, Stars Design Group, and have been 24 years, I've really learned to appreciate numbers. They can be creative. You just gotta kind of look at the impact and understand how you can do it. But again, this is a common conversation within the design community. It's like, look if someone else could deal with that and. We go design, that's what Id like to do.
Mondo Guerra 45:01
If anybody out there, I need help on the business end back of the house, you know what? I mean? Yeah, like, I'm really good at being creative. You know, even if you give me a challenge, I will live up to it. But like, when it comes to the numbers, yeah, it's very, very, very hard for me, and it's very depressing. Like I said, it's, it's like, it actually annoys me and frustrates me, and it doesn't allow me to sleep. It like actually hurts me to have to deal with it. Like, if I start thinking about the numbers, I'm like, Oh my God, I don't even want to finish this. You know what I mean.
Mondo Guerra 45:18
Is its because is that because it's the reality of having to make a living, or is it the fact that it has to become part of the creative process, or-
Mondo Guerra 45:42
The fact that it has to become a part of the creative process, that is never
Bret Schnitker 45:47
because this is kind of commercial design, you know.
Mondo Guerra 45:50
that's the thing that we're talking about. I feel like half of it needs to be that commercial design, and the other part can be the fun exploration and everything else. And listen, I feel like when I do a show or do a look, a custom for a queen, or whatever it is, I always am exploring during that process. And that always does trickle down into the DNA of the commercial thing, you know, so they-
Bret Schnitker 46:15
Are wrestling between kind of the the runway out of the box, kind of designs, and are you going to distill a ready to wear brand for the masses? I mean, you know, growing your audience is so important, yes.
Mondo Guerra 46:30
And I think that's also a thing that I'm struggling with, is that, like, when we look at runway pieces and the work that's put into them, but then, like, oh, you can, like, transfer this, this idea, this print, or whatever it is, and just, you know, print it on a dress shirt. That's hard for me to think about, because I'm like, I would never buy that, you know what I mean, but maybe I would, I don't know, I have to see it, you know, I feel like there has to be, like, some kind of special, I don't know, detail, or something that's just little, a little unique about it that I would want to, you know, purchase it. I,
Bret Schnitker 47:07
as all designers have kind of created that they find, as simple as Hilfigers, little green eyelet. That's his detail, his signature piece. You develop those little DNA pieces,
Mondo Guerra 47:17
and I don't think I've stumbled upon that yet, so I feel like that's in it, but I do, you know, I am thinking more about the commercial and seeing how that would work out. But also, even there, I don't think I'm buying 500 units of one style, you know, I mean, I'm well-
Bret Schnitker 47:39
your audience will tell you that eventually
Mondo Guerra 47:40
they've already told me, like, we like being you, like you just said, yeah, exactly, yeah, having a small, smaller number and smaller availability. And I think that's exciting. Like, again, when we talk about, like, over saturation of this and that and this, I think the smart fashion savvy customer is always looking at their favorite creative people, whether designers, painters, you know, whatever it is. And they're always looking for their new drops, you know, and being like, right? I better pay attention. Let me set my clock, because it's gonna drop and it's gonna sell out. And I think that's the exciting thing about creating the demand, right? Yeah, being so, so accessible right now.
Bret Schnitker 48:25
I feel like it's kind of the important balance in our industry. We have SheIn and all these big, mass produced fast fashion that's filling landfills
Mondo Guerra 48:33
an it's instilling work, stealing ideas from smaller brands.
Bret Schnitker 48:37
There are a lot of challenges for that stuff. But I feel like, on this level, the designers are kind of that balance. It's like, well thought out, intentional pieces, small production runs, things that you love, you curate, you look forward to, look forward to, as opposed to, hey, I'm gonna buy it today and throw it away tomorrow.
Mondo Guerra 48:56
you're gonna hold on to them forever. Yeah? And even if you like, grow out of it, or if you don't wear it anymore, you're gonna keep it in your closet. It has value, you know, it means something to you. You remember when you bought it, you know, remember where you were, and you remember when you first wore it, and how many compliments you got when you were wearing it. You know, that's very special.
Emily Lane 49:17
I love the conversation we had with Mickey Boardman, and he talked about, really, all you, you know, from a resource standpoint, you everybody needs a good tailor. Because, you know, the day you do grow out of that favorite garment, or you find something that really speaks to you and you want it but it doesn't fit you, guess what? You can get it reinvented. So I love the idea of this piece that has been around in your life for longer than a lot of your relationships can, can evolve with you.
Mondo Guerra 49:44
Think that's a key word right now in fashion, is like evolution, not only through, sorry, technique and through innovation, but like through the actual garment itself. You know, a. There's so many, there's so much opportunity for upcycling right now, and so many ways to reinvent, reinvent your wardrobe. And I think it's really important to be that person.
Bret Schnitker 50:11
That's an exciting new kind of business model where a designer takes back an older piece, evolves, it, reinvents it, and sends it back out.
Emily Lane 50:19
That's so cool.
Mondo Guerra 50:21
That's a really good idea. Yeah, okay, let's work on it.
Bret Schnitker 50:24
Yeah, I love that.
Mondo Guerra 50:26
Yeah, send it to us,
Bret Schnitker 50:29
bring it back to speed and send it back. Save the landfill.
Emily Lane 50:33
I'm glad our conversation resulted in a new idea for you. Very good. Well, thank you so much for this conversation today.
Mondo Guerra 50:40
it's therapeutic, you know, like talking about, you know, process and art and everything is always very therapeutic, as long as the numbers don't come up. Yeah,we're good.
Emily Lane 50:52
Well, you know, maybe you just need a little more Bach in your life, right?
Mondo Guerra 50:56
What is Bach? Oh, Bach. Like the instrument, the composer.
Emily Lane 51:00
Think about some of those you know piano masterpieces.
Mondo Guerra 51:03
I like bar talk a little better.
Emily Lane 51:09
Well. Thank you so much for this amazing conversation. I look forward to many more with you, and thank you for joining us today. Don't forget to subscribe to stayapprised of more clothing, Clothing Coulture conversations.
Bret Schnitker 51:20
yeah, clothing, comfortable culture, oh yes, comfortable couch. It's okay.
Mondo Guerra 51:25
We'll see you soon. Thanks.
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