March 14, 2025 • 26 mins
Woody Wilson Interview with BLACK IN THE GREEN ROOMThe Power of Style: Woody Wilson on Dressing Hollywood’s Elite"
In this exclusive interview, celebrity menswear designer Woody Wilson shares his journey from corporate life to becoming the go-to tailor for Hollywood’s biggest stars. From crafting custom looks for Eddie Murphy, Martin Lawrence, and Johnny Gill to designing for blockbuster films like Coming to America, Wilson reveals the secrets behind bespoke fashion, the challenges of dressing A-listers, and how he built a legacy in luxury menswear.
Tune in for expert insights on fashion, entrepreneurship, and the art of making a statement with every stitch. Whether you love red carpet style, custom suits, or insider Hollywood stories, this episode is a must-listen!
Listen now and step into the world of high-end menswear.
In this exclusive interview, celebrity menswear designer Woody Wilson shares his journey from corporate life to becoming the go-to tailor for Hollywood’s biggest stars. From crafting custom looks for Eddie Murphy, Martin Lawrence, and Johnny Gill to designing for blockbuster films like Coming to America, Wilson reveals the secrets behind bespoke fashion, the challenges of dressing A-listers, and how he built a legacy in luxury menswear.
Tune in for expert insights on fashion, entrepreneurship, and the art of making a statement with every stitch. Whether you love red carpet style, custom suits, or insider Hollywood stories, this episode is a must-listen!
Listen now and step into the world of high-end menswear.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
You are black in the green room with me, your host Keith Underwood.
(00:04):
And this is your spot for real talk about entertainment with entertainers,
creatives, and showbiz professionals.
Today on Black in the green room, we are honored to have the legendary menswear designer,
Woody Wilson, with us.
And he is known for dressing Hollywood's elite, top athletes, and influential business leader,
(00:26):
Woody has built an incredible career outside the conventional paths of studio costume designers
and wardrobe stylists.
His dedication to craftsmanship, individuality, and redefining luxury menswear makes him
a true pioneer in the industry.
And we're excited to dive into his journey and the legacy that he continues to create.
(00:50):
Woody Wilson, what's up?
Welcome to Black in the green room.
Welcome to the intro.
Welcome, Robin Flaw.
You know what I'm saying?
We got to give a brother his flowers around here, man.
Appreciate that.
Thank you so much.
Thank you so much.
Now, how are you, Tastin?
Thank you.
No problem.
How you been, man?
I've been well.
I've been well.
(01:10):
You know, trying to navigate through all of the madness has gone on in the world with fires
and post-COVID and all of that.
But I'm good.
I thank God.
We're still here.
We're still standing.
So that's a good thing.
You directly impacted at all?
Not directly impacted by the fires, no.
(01:31):
Good, good, good.
Yeah.
You know, this time we were really good.
But Pacific policy, it's just so devastating.
We see the damage that was done.
Yeah.
Yeah, man.
Absolutely horrific.
I mean, it really is.
(01:52):
So what do you, what first got you interested in pursuing a career in fashion?
Wow.
That's a question that I haven't answered in a long time.
I'll try to shorten this story a bit, but so I graduated from college with a degree in business.
(02:15):
I went to work in corporate America.
So my first job was in Delaware.
I'm from the East Coast originally from Maryland.
So I worked in Delaware for Ernest and Julio Gallo and a distributor there and then moved
and got transferred to Boston and then came out to Houston.
And I was working in Houston and I was starting to really dislike my job.
(02:37):
There was a lot of red tape and bald.
I felt isolated.
Many times I was the only person of color in the room.
And then I got promoted and moved out to Los Angeles to Newport beaches where I actually resided
but worked kind of in Los Angeles territory for the same company called Hugh Blind.
(03:00):
And you know that corporate struggle, that corporate balance of trying to fit in when you really
don't, was, was increasingly, I know, starting to make me feel unwelcome like I wanted to, I wanted
to make a change.
And one day I'm sitting across my boss were in this meeting about promotions and things
(03:23):
didn't go the way that I thought they should.
And I looked at this man and I thought to myself, should I choke him or just slap him?
Or a combination of both.
Yeah, combination of both.
But at that point I realized I couldn't work with anyone else and I had to really, I had to
figure out what it was I wanted to do for myself.
(03:45):
What I wanted to do, what my love is, what my likes, my dislikes are.
I went home that weekend, took a blank sheet of paper, meditated, phrase and just started
listing all of the things that I've really, you know, went out compilation, what I love to
do, fashion kind of jumped off the page.
(04:06):
But I had to be brutally honest with myself in terms of what I wanted.
And my dad told me at the time, "Listen, you're single, no kids, you're not married, go
for it."
And so I started to use my network.
That's why networking is so important.
You can reach out for people and ask them if you know anyone in fashion or someone that
(04:27):
can kind of give me a point in the right direction in terms of how to get involved.
And I started working for a company called Dion Scott Custom wardrobe designers.
Dion Latimore, Scott Torellis were the two owners of the company and they lived in Newport
Beach and I had met them through the network connecting with Dion and Scott.
(04:48):
I started working for their company.
They took me through a training in terms of how things worked.
And with bespoke or custom clothing, it's a little different than having to have the
technical skill of sewing because we had our own tailors in craftsmen to put together
(05:10):
the designs that we would sell to our customers and our clients.
And so when I initially inquired, he said, "You know what, why don't you come out to
Las Vegas with us?
We're going out to see clients and you'll get an opportunity to see exactly how we do
it."
(05:30):
I also go, "Okay, Graham."
And we went out to Vegas and the client was Mike Tyson and Dion King.
And Mike Tyson and Dion King, or in?
And Dion King and we were at Mike Tyson's house and he was like, "Oh, three of those, four
of those, five of those."
And we had swatches on the bed, actually laid the swatches out and we were matching up
(05:52):
colors and patterns to the garment city had in this closet.
And we walked away with a pretty successful trip.
And if you know, light bulb would off, that's what I wanted to do.
This is what I wanted to do.
I love this.
So I continued to work for Dion Scott, Custom Board of Designers.
And it was on a commission basis.
(06:14):
I think my draw was a thousand, I got a thousand dollars a month and I had to go out and actually
find my own clientele and recruit them into the business.
So I did that to the tune of Steve Harvey, Secretary of the Entertainer, Magic John
Johnson, you know, numerous NBA players and a foul players.
(06:36):
I was at every networking event.
I was going to every all-star game, every super bowl, all the parties that surround it shaking
hands and giving my little 30 second elevator pitch.
And a lot of times measuring these guys up in hotel rooms.
Hotel rooms, airport bathrooms.
[LAUGHTER]
Yeah, I've got some stories about some of these places we've been.
(07:03):
Yeah, so I did that for two years with Dion Scott and I built a clientele that was so impactful
to the business that they wanted to put me on salary.
And I was there.
And you know, I'm making more money commissioned than I am if you put me on salary.
Right.
It was 50,000 dollars a year, that was in the 90s.
(07:26):
That was good money then.
It was good money then, but I was actually earning more with the commission base.
And so I said, you know what, I'll do that.
I'll sacrifice for the company.
But, you know, I would like to be a partner.
Right.
Make me a partner in the business.
And they said, we're not accepting partners at this time.
(07:49):
And that's when I knew that, again, the ceiling was lower than it.
And I'd like it to be in order for me to grow.
I had most likely half-colleging.
And that's what I did after two years.
I left the company and started the Woody Wilson Collection in 1997.
(08:10):
1997, and look at it now.
1997.
Yeah.
Woody, and what I think is amazing about the story that you told is because I had a similar
experience when I was a publicist.
I was working for a PR firm.
I was bringing in lots of money, you know, for the firm.
And then when I was like, okay, well, can I get a commission of any new clients that I bring
(08:34):
in?
And I was told, yeah, you can get 5%.
And some thinking about the number of clients that I had the possibility of bringing in.
And I'm thinking, okay, I can have 5% of 100% or I can have 100% of 100% and start my own.
I mean, that's just good, good business.
And I understand loyalty within the entertainment industry or any industry, but you have to also
(09:00):
look out for your best interest in what makes the most sense for you as well.
You have to.
And you're young and you're aggressive and motivated and you want to make money.
Every time you get limited on your earning potential, you have to look for other ways to make it
happen for yourself.
So, you know, I hate to leave on those terms or I didn't like leaving on those terms, but
(09:23):
you know, I put the offer on the table and it was kind of dismissed.
And I felt disrespected in that regard for what I was doing for the impact that it was
having on the business.
But you know, you're living, you learn.
Right.
And then hired reps and I had the same thing happen to me.
Absolutely.
(09:44):
You know, my representative in New York, he decided to go out on his own and I find out the
hard way, but yeah, it happens.
It's business.
That's why you want to hire people and they're ambitious, but they're not super ambitious.
Right, right, right.
Fine line.
You want that person that's okay with just getting that paycheck everyone, right?
(10:09):
And you have to pay people well, so they'll stick around.
Absolutely.
And treat them well enough and have some fun.
Maybe take them on a trip here and there or, you know, it could be beneficial in the long run
and you'll have an employee that's loyal.
And so, but these days it's really tough to find someone as loyal.
(10:32):
Interviews, I have young guys in the interview say to me, I just want to learn from you so
I can go out and start my own business.
Right.
Yes.
You see what made it dedicate all my resources.
Everything I've learned for the last 25 years and just give it to you.
So you can go out and become my competition.
Does that make sense to you?
(10:53):
Right.
Right, right, right.
And that's very, I mean, that's very honest and I think that, you know, that's an honest
approach that we have to take, you know, to, to business.
And like you said, if you're paying your employees right and you're treating them and
you're treating them right, you want that loyalty to the company and return.
(11:34):
So, you know, I think that's the point of the question.
So, I think that's the point of the question.
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(11:55):
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(12:16):
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(12:37):
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So, I think that's the point of the question.
And, you know, they can be pretty demanding.
(13:00):
And, you have to kind of give them some realistic timelines in terms of, you know, in terms of one of the clothes that's going to be ready.
That's kind of the biggest issue or a sticking point of clients is like, how soon can I get it?
Right.
And so, you have to really, you have to manage that.
And then, everything doesn't go as smoothly as you'd like it to go.
If you're like, it to go with the importing fabric from Italy or London, wherever it's from, sometimes it could be out of stock.
It could be a hook up in terms of the transportation.
(13:22):
And then, you could have a craftsman that is ill or out of, so with business, as we know, anything can happen.
So, you have to be able to manage those expectations.
And then, of course, deliver a quality product.
And then, you know, you have to be able to manage that.
(13:46):
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
Just to kind of give you a quick rundown of day to day.
(14:08):
So, if you're a client, either I'm coming to your home, wherever you live, anywhere in the country, anywhere in the world, I travel with a book of swatches or a bag of swatches, suitcase rather of swatches.
And my, inside my suitcase are books.
And the pages in my books are actually fabric swatches, right?
(14:31):
So, their pen stripes are glimplads of solids, cottons, poly, I really don't do much poly at all, but really fine fabrics, Lord of Yada, Zanya, and just some really amazing fabrics for shootings and for shootings.
And so, when I get to your home, or you come in our office, we're actually going through these books, which number in the thousands, which fabrics number in the thousands.
(14:59):
And so, we can choose the fabric that you always wanted.
Say, for example, you're flipping through a magazine and you have a tear sheet of suit you love, you can send that to me.
You can email it or text message and we can make that garment for you.
(15:21):
So, we'll take your measurements.
First, we'll take your measurements and then we create a fitting and you see in a lot of Italian movies where like the monsters standing up on a box, I was square looking in the mirror.
And there's a tailor and it's undone, it's unfinished, maybe one sleeve is off the jacket and he's pinning and tucking and looking very carefully to make sure that that garment fits that particular body perfectly.
(15:47):
So, that's a part of our process and then we complete the garment and it fits better than anything you're ever having to.
And so, you get the fabric, the fit and the amazing look that you want when you're in trouble.
Yes.
Now, you've also done some film and television projects as well.
(16:10):
How did you get those opportunities?
Again, it's just picking up the phone and making the make of the phone call.
Was your entremets already there in doing film and television?
No, that just came, I think my interest, I first started with athletes because those were the obvious guys that couldn't fit clothes off the rack.
(16:33):
Right.
That's the target market and then you soon realize that it's the target market for everyone. Right. So then you get into some prize wars and it's like, all right, I need to shift gears.
So in the early 2000s, I switched to entertainment and I was kind of a long dove in that in that relationship with entertainment and doing, you know, Kings of Queens and movies with Martin Lawrence and.
(17:02):
Coming to America with a Ruth Carter, which by the way was probably my most challenging situation.
Working with Ruth Carter to make the African uniforms for a San Diego hall and a Murphy.
Wow.
But just because of the timeline involved and the intricacy and details in each garment was really, really, we were 24 hours a day on that project for two, two weeks, about 16 days.
(17:31):
Wow. Yeah. Is it is it is it lucrative?
Yeah, it's lucrative. It is lucrative. The television and film can be lucrative.
You know, the business overall can be lucrative. Of course, I mean, it's fed my family and taking care of my family for over two decades and something that I love to do.
(17:54):
It has it's ebbs and flows, for example, when COVID hit, there was nothing going on. Yeah, no, no concerts, not of my entertainers were traveling. There was no television production. There's, you know, if, if they decide to strike, you know, that's whether it's striking in the NFL, the NBA or television and film.
(18:16):
It's not good. So you have to figure out how you have to have enough clientele and mix to kind of be able to stay afloat and maintain your business.
And so you have to include businessmen, right? So you have to have the everyday guy who maybe wants to buy his first bespoke suit.
(18:39):
You have to make sure that you're constantly reaching out and building your clientele. You cannot arrest in your laurels. And this business you're only good as good as your last clientele.
Pretty much. Right. But when you've got enough in the pipeline, they're coming back year after year, maybe two years.
Sometimes you will hear from someone for an extended period of time. And so we're probably not as good as we're not as good at what we, as good as we should be is contact and staying contact with all of our minds and, and sitting out notices and making sure that they don't forget about.
(19:22):
We've got to get better at that. That's one of our resolutions in 2025 is to constant contact, for example, to make sure that they know we're still here.
Yes. How, how important has it been to have publicists supporting you? I remember, you know, when, when I was working with you, there was always a publicist that was calling and saying, hey, you know, I need a tuxedo for this party.
(19:49):
I've got this photo shoot coming up from my client. How important has that those relationships been.
You know, we did a lot of that back in the day. I think when I was trying to get my name out there, I was more open to publicists and dressing.
You know, stars, a list of be listeners, you know, you're promised by the PR agent that the client or the talent will give you a shout out on the red carpet because that makes the effort all worthwhile.
(20:19):
Right. But it hasn't always happened. Right.
It's a little frustrating because there's a lot of effort that goes into creating a government. It's not as if we have a bunch of garments hanging on the rack and come in and pick one.
We're actually measuring and creating the look for that evening.
And so not to get the appreciation of, hey, I want to give Woody Wilson a shout out. Thank you. This is Woody Wilson, where and so on and so forth.
(20:49):
It's kind of devastating to a designer, right? We don't get that appreciation.
So we do less of that now.
It's just, hey, what's your budget? Right.
Yes.
And even some film, you know, productions, they are the budgets aren't what they used to be.
(21:10):
So, you know, so now you kind of have to fight for your space now. What's the next genre of business opportunities that exist out there? And while I won't diagnose that now, I've been able to tap into some other opportunities.
One of the things that I've done that I could share with you is I create wardrobe packages.
(21:31):
So I have clients that are building homes and warmer climates and we offer a linen package where they can get linen shirts, shorts, pants, tops, jackets, a whole summer cotton wardrobe for a price that fits their budget.
(21:55):
And we offer $50,000 packages, $100,000 packages. And that's been great for us to be able to go and create a whole wardrobe for the guy that lives in New York.
But that's going to travel his clothes when he lands in Puerto Vallarta, for example.
Yeah. What's the secret to sustainability over the years? Any evolving? What's the secret to that?
(22:21):
Secret to sustainability is actually evolving in fashion and understanding what the trends are understanding.
What your clients needs are. And there's a fine line between a tailored Italian suit on a guy who's five nine and 260 pounds.
(22:42):
Or, you know, guys, 62 and 200 pounds, right? So you're going to get a different look based on the silhouette or the style of today. And you have to be able to transition their mindset and to understanding that, hey, you can't look like that.
Right. We're going to have to come up with a version of it for you that works. And you try to you try to make that happen. So, you know, being honest with your clients, I think is helps you to maintain a great relationship and build and be stable and involved with the changes.
(23:21):
And you have to know, you know, kind of where fashion is going. And because of a guy's going to spend a large amount of custom clothing, he doesn't want to look up next year or two years from now, three years from now, whatever that time might be and say, hey, it's all outdated.
And then you have clients who want outdated kind of look at the entire right.
(23:45):
Look at Michael Jordan, for example, Michael Jordan, soops.
You know, it's got a little better, but he's still had the broad shoulders and the white pants. Right.
And, you know, if you talk, if you talk about adoptability, Steve Harvey has been able to adapt from his longer, close wider pants. He now has some of a reputation as a guy who knows fashion.
(24:14):
Right. It's all about the mental kind of mental point of where that kind is and bringing them out of the past and into the future or into the present rather.
And then some just kind of restuck in the past, you know, Michael Jordan knows he looked great and when he knew him for his style, and he was the greatest of all time.
(24:35):
So it's a little difficult, I think, for him to break that fashion trend of the 90s and get into the thing today that we're happening today in terms of the silhouette thing in suits.
Right, right, right.
Woody Wilson, yeah, I mean, this has been some some great advice and you know, sharing your story.
(24:58):
I really, really appreciate it. We're can we're can people find out more about the Woody Wilson collection and more about you in general.
Well, you can find me anywhere on the internet, Woody Wilson dot com. We're on LinkedIn and social media.
Anywhere on social media, you can find us.
And reach out in contact us.
(25:20):
We are only a phone call away and we operate by appointment and we do service clients all over the country. So we'd be happy to jump on a plane and come on out and measure you up and create a custom wardrobe for you or your wife, your children.
Yeah, anything from suit shirts, tuxedos, top coats, casual wear sportswear.
(25:43):
We are available to make the make that happen for you.
Woody Wilson, thank you so much for joining me on black in the green room.
Be sure to follow me.
Underwood at Mr. June L underwood on IG.
You can also follow me on FB at key L underwood.
And you know, you got to follow black in the green room at black in the green room across all platforms until next time this has been black in the green room.
(26:09):
Changes?
[BLANK_AUDIO]
[BLANK_AUDIO]
You are black in the green room with me, your host Keith Underwood.
(00:04):
And this is your spot for real talk about entertainment with entertainers,
creatives, and showbiz professionals.
Today on Black in the green room, we are honored to have the legendary menswear designer,
Woody Wilson, with us.
And he is known for dressing Hollywood's elite, top athletes, and influential business leader,
(00:26):
Woody has built an incredible career outside the conventional paths of studio costume designers
and wardrobe stylists.
His dedication to craftsmanship, individuality, and redefining luxury menswear makes him
a true pioneer in the industry.
And we're excited to dive into his journey and the legacy that he continues to create.
(00:50):
Woody Wilson, what's up?
Welcome to Black in the green room.
Welcome to the intro.
Welcome, Robin Flaw.
You know what I'm saying?
We got to give a brother his flowers around here, man.
Appreciate that.
Thank you so much.
Thank you so much.
Now, how are you, Tastin?
Thank you.
No problem.
How you been, man?
I've been well.
I've been well.
(01:10):
You know, trying to navigate through all of the madness has gone on in the world with fires
and post-COVID and all of that.
But I'm good.
I thank God.
We're still here.
We're still standing.
So that's a good thing.
You directly impacted at all?
Not directly impacted by the fires, no.
(01:31):
Good, good, good.
Yeah.
You know, this time we were really good.
But Pacific policy, it's just so devastating.
We see the damage that was done.
Yeah.
Yeah, man.
Absolutely horrific.
I mean, it really is.
(01:52):
So what do you, what first got you interested in pursuing a career in fashion?
Wow.
That's a question that I haven't answered in a long time.
I'll try to shorten this story a bit, but so I graduated from college with a degree in business.
(02:15):
I went to work in corporate America.
So my first job was in Delaware.
I'm from the East Coast originally from Maryland.
So I worked in Delaware for Ernest and Julio Gallo and a distributor there and then moved
and got transferred to Boston and then came out to Houston.
And I was working in Houston and I was starting to really dislike my job.
(02:37):
There was a lot of red tape and bald.
I felt isolated.
Many times I was the only person of color in the room.
And then I got promoted and moved out to Los Angeles to Newport beaches where I actually resided
but worked kind of in Los Angeles territory for the same company called Hugh Blind.
(03:00):
And you know that corporate struggle, that corporate balance of trying to fit in when you really
don't, was, was increasingly, I know, starting to make me feel unwelcome like I wanted to, I wanted
to make a change.
And one day I'm sitting across my boss were in this meeting about promotions and things
(03:23):
didn't go the way that I thought they should.
And I looked at this man and I thought to myself, should I choke him or just slap him?
Or a combination of both.
Yeah, combination of both.
But at that point I realized I couldn't work with anyone else and I had to really, I had to
figure out what it was I wanted to do for myself.
(03:45):
What I wanted to do, what my love is, what my likes, my dislikes are.
I went home that weekend, took a blank sheet of paper, meditated, phrase and just started
listing all of the things that I've really, you know, went out compilation, what I love to
do, fashion kind of jumped off the page.
(04:06):
But I had to be brutally honest with myself in terms of what I wanted.
And my dad told me at the time, "Listen, you're single, no kids, you're not married, go
for it."
And so I started to use my network.
That's why networking is so important.
You can reach out for people and ask them if you know anyone in fashion or someone that
(04:27):
can kind of give me a point in the right direction in terms of how to get involved.
And I started working for a company called Dion Scott Custom wardrobe designers.
Dion Latimore, Scott Torellis were the two owners of the company and they lived in Newport
Beach and I had met them through the network connecting with Dion and Scott.
(04:48):
I started working for their company.
They took me through a training in terms of how things worked.
And with bespoke or custom clothing, it's a little different than having to have the
technical skill of sewing because we had our own tailors in craftsmen to put together
(05:10):
the designs that we would sell to our customers and our clients.
And so when I initially inquired, he said, "You know what, why don't you come out to
Las Vegas with us?
We're going out to see clients and you'll get an opportunity to see exactly how we do
it."
(05:30):
I also go, "Okay, Graham."
And we went out to Vegas and the client was Mike Tyson and Dion King.
And Mike Tyson and Dion King, or in?
And Dion King and we were at Mike Tyson's house and he was like, "Oh, three of those, four
of those, five of those."
And we had swatches on the bed, actually laid the swatches out and we were matching up
(05:52):
colors and patterns to the garment city had in this closet.
And we walked away with a pretty successful trip.
And if you know, light bulb would off, that's what I wanted to do.
This is what I wanted to do.
I love this.
So I continued to work for Dion Scott, Custom Board of Designers.
And it was on a commission basis.
(06:14):
I think my draw was a thousand, I got a thousand dollars a month and I had to go out and actually
find my own clientele and recruit them into the business.
So I did that to the tune of Steve Harvey, Secretary of the Entertainer, Magic John
Johnson, you know, numerous NBA players and a foul players.
(06:36):
I was at every networking event.
I was going to every all-star game, every super bowl, all the parties that surround it shaking
hands and giving my little 30 second elevator pitch.
And a lot of times measuring these guys up in hotel rooms.
Hotel rooms, airport bathrooms.
[LAUGHTER]
Yeah, I've got some stories about some of these places we've been.
(07:03):
Yeah, so I did that for two years with Dion Scott and I built a clientele that was so impactful
to the business that they wanted to put me on salary.
And I was there.
And you know, I'm making more money commissioned than I am if you put me on salary.
Right.
It was 50,000 dollars a year, that was in the 90s.
(07:26):
That was good money then.
It was good money then, but I was actually earning more with the commission base.
And so I said, you know what, I'll do that.
I'll sacrifice for the company.
But, you know, I would like to be a partner.
Right.
Make me a partner in the business.
And they said, we're not accepting partners at this time.
(07:49):
And that's when I knew that, again, the ceiling was lower than it.
And I'd like it to be in order for me to grow.
I had most likely half-colleging.
And that's what I did after two years.
I left the company and started the Woody Wilson Collection in 1997.
(08:10):
1997, and look at it now.
1997.
Yeah.
Woody, and what I think is amazing about the story that you told is because I had a similar
experience when I was a publicist.
I was working for a PR firm.
I was bringing in lots of money, you know, for the firm.
And then when I was like, okay, well, can I get a commission of any new clients that I bring
(08:34):
in?
And I was told, yeah, you can get 5%.
And some thinking about the number of clients that I had the possibility of bringing in.
And I'm thinking, okay, I can have 5% of 100% or I can have 100% of 100% and start my own.
I mean, that's just good, good business.
And I understand loyalty within the entertainment industry or any industry, but you have to also
(09:00):
look out for your best interest in what makes the most sense for you as well.
You have to.
And you're young and you're aggressive and motivated and you want to make money.
Every time you get limited on your earning potential, you have to look for other ways to make it
happen for yourself.
So, you know, I hate to leave on those terms or I didn't like leaving on those terms, but
(09:23):
you know, I put the offer on the table and it was kind of dismissed.
And I felt disrespected in that regard for what I was doing for the impact that it was
having on the business.
But you know, you're living, you learn.
Right.
And then hired reps and I had the same thing happen to me.
Absolutely.
(09:44):
You know, my representative in New York, he decided to go out on his own and I find out the
hard way, but yeah, it happens.
It's business.
That's why you want to hire people and they're ambitious, but they're not super ambitious.
Right, right, right.
Fine line.
You want that person that's okay with just getting that paycheck everyone, right?
(10:09):
And you have to pay people well, so they'll stick around.
Absolutely.
And treat them well enough and have some fun.
Maybe take them on a trip here and there or, you know, it could be beneficial in the long run
and you'll have an employee that's loyal.
And so, but these days it's really tough to find someone as loyal.
(10:32):
Interviews, I have young guys in the interview say to me, I just want to learn from you so
I can go out and start my own business.
Right.
Yes.
You see what made it dedicate all my resources.
Everything I've learned for the last 25 years and just give it to you.
So you can go out and become my competition.
Does that make sense to you?
(10:53):
Right.
Right, right, right.
And that's very, I mean, that's very honest and I think that, you know, that's an honest
approach that we have to take, you know, to, to business.
And like you said, if you're paying your employees right and you're treating them and
you're treating them right, you want that loyalty to the company and return.
(11:34):
So, you know, I think that's the point of the question.
So, I think that's the point of the question.
I think that's the point of the question.
So, I think that's the point of the question.
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(11:55):
So, I think that's the point of the question.
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(12:16):
So, I think that's the point of the question.
So, I think that's the point of the question.
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So, I think that's the point of the question.
(12:37):
So, I think that's the point of the question.
So, I think that's the point of the question.
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So, I think that's the point of the question.
So, I think that's the point of the question.
And, you know, they can be pretty demanding.
(13:00):
And, you have to kind of give them some realistic timelines in terms of, you know, in terms of one of the clothes that's going to be ready.
That's kind of the biggest issue or a sticking point of clients is like, how soon can I get it?
Right.
And so, you have to really, you have to manage that.
And then, everything doesn't go as smoothly as you'd like it to go.
If you're like, it to go with the importing fabric from Italy or London, wherever it's from, sometimes it could be out of stock.
It could be a hook up in terms of the transportation.
(13:22):
And then, you could have a craftsman that is ill or out of, so with business, as we know, anything can happen.
So, you have to be able to manage those expectations.
And then, of course, deliver a quality product.
And then, you know, you have to be able to manage that.
(13:46):
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
And then, you know, you have to be able to manage that.
Just to kind of give you a quick rundown of day to day.
(14:08):
So, if you're a client, either I'm coming to your home, wherever you live, anywhere in the country, anywhere in the world, I travel with a book of swatches or a bag of swatches, suitcase rather of swatches.
And my, inside my suitcase are books.
And the pages in my books are actually fabric swatches, right?
(14:31):
So, their pen stripes are glimplads of solids, cottons, poly, I really don't do much poly at all, but really fine fabrics, Lord of Yada, Zanya, and just some really amazing fabrics for shootings and for shootings.
And so, when I get to your home, or you come in our office, we're actually going through these books, which number in the thousands, which fabrics number in the thousands.
(14:59):
And so, we can choose the fabric that you always wanted.
Say, for example, you're flipping through a magazine and you have a tear sheet of suit you love, you can send that to me.
You can email it or text message and we can make that garment for you.
(15:21):
So, we'll take your measurements.
First, we'll take your measurements and then we create a fitting and you see in a lot of Italian movies where like the monsters standing up on a box, I was square looking in the mirror.
And there's a tailor and it's undone, it's unfinished, maybe one sleeve is off the jacket and he's pinning and tucking and looking very carefully to make sure that that garment fits that particular body perfectly.
(15:47):
So, that's a part of our process and then we complete the garment and it fits better than anything you're ever having to.
And so, you get the fabric, the fit and the amazing look that you want when you're in trouble.
Yes.
Now, you've also done some film and television projects as well.
(16:10):
How did you get those opportunities?
Again, it's just picking up the phone and making the make of the phone call.
Was your entremets already there in doing film and television?
No, that just came, I think my interest, I first started with athletes because those were the obvious guys that couldn't fit clothes off the rack.
(16:33):
Right.
That's the target market and then you soon realize that it's the target market for everyone. Right. So then you get into some prize wars and it's like, all right, I need to shift gears.
So in the early 2000s, I switched to entertainment and I was kind of a long dove in that in that relationship with entertainment and doing, you know, Kings of Queens and movies with Martin Lawrence and.
(17:02):
Coming to America with a Ruth Carter, which by the way was probably my most challenging situation.
Working with Ruth Carter to make the African uniforms for a San Diego hall and a Murphy.
Wow.
But just because of the timeline involved and the intricacy and details in each garment was really, really, we were 24 hours a day on that project for two, two weeks, about 16 days.
(17:31):
Wow. Yeah. Is it is it is it lucrative?
Yeah, it's lucrative. It is lucrative. The television and film can be lucrative.
You know, the business overall can be lucrative. Of course, I mean, it's fed my family and taking care of my family for over two decades and something that I love to do.
(17:54):
It has it's ebbs and flows, for example, when COVID hit, there was nothing going on. Yeah, no, no concerts, not of my entertainers were traveling. There was no television production. There's, you know, if, if they decide to strike, you know, that's whether it's striking in the NFL, the NBA or television and film.
(18:16):
It's not good. So you have to figure out how you have to have enough clientele and mix to kind of be able to stay afloat and maintain your business.
And so you have to include businessmen, right? So you have to have the everyday guy who maybe wants to buy his first bespoke suit.
(18:39):
You have to make sure that you're constantly reaching out and building your clientele. You cannot arrest in your laurels. And this business you're only good as good as your last clientele.
Pretty much. Right. But when you've got enough in the pipeline, they're coming back year after year, maybe two years.
Sometimes you will hear from someone for an extended period of time. And so we're probably not as good as we're not as good at what we, as good as we should be is contact and staying contact with all of our minds and, and sitting out notices and making sure that they don't forget about.
(19:22):
We've got to get better at that. That's one of our resolutions in 2025 is to constant contact, for example, to make sure that they know we're still here.
Yes. How, how important has it been to have publicists supporting you? I remember, you know, when, when I was working with you, there was always a publicist that was calling and saying, hey, you know, I need a tuxedo for this party.
(19:49):
I've got this photo shoot coming up from my client. How important has that those relationships been.
You know, we did a lot of that back in the day. I think when I was trying to get my name out there, I was more open to publicists and dressing.
You know, stars, a list of be listeners, you know, you're promised by the PR agent that the client or the talent will give you a shout out on the red carpet because that makes the effort all worthwhile.
(20:19):
Right. But it hasn't always happened. Right.
It's a little frustrating because there's a lot of effort that goes into creating a government. It's not as if we have a bunch of garments hanging on the rack and come in and pick one.
We're actually measuring and creating the look for that evening.
And so not to get the appreciation of, hey, I want to give Woody Wilson a shout out. Thank you. This is Woody Wilson, where and so on and so forth.
(20:49):
It's kind of devastating to a designer, right? We don't get that appreciation.
So we do less of that now.
It's just, hey, what's your budget? Right.
Yes.
And even some film, you know, productions, they are the budgets aren't what they used to be.
(21:10):
So, you know, so now you kind of have to fight for your space now. What's the next genre of business opportunities that exist out there? And while I won't diagnose that now, I've been able to tap into some other opportunities.
One of the things that I've done that I could share with you is I create wardrobe packages.
(21:31):
So I have clients that are building homes and warmer climates and we offer a linen package where they can get linen shirts, shorts, pants, tops, jackets, a whole summer cotton wardrobe for a price that fits their budget.
(21:55):
And we offer $50,000 packages, $100,000 packages. And that's been great for us to be able to go and create a whole wardrobe for the guy that lives in New York.
But that's going to travel his clothes when he lands in Puerto Vallarta, for example.
Yeah. What's the secret to sustainability over the years? Any evolving? What's the secret to that?
(22:21):
Secret to sustainability is actually evolving in fashion and understanding what the trends are understanding.
What your clients needs are. And there's a fine line between a tailored Italian suit on a guy who's five nine and 260 pounds.
(22:42):
Or, you know, guys, 62 and 200 pounds, right? So you're going to get a different look based on the silhouette or the style of today. And you have to be able to transition their mindset and to understanding that, hey, you can't look like that.
Right. We're going to have to come up with a version of it for you that works. And you try to you try to make that happen. So, you know, being honest with your clients, I think is helps you to maintain a great relationship and build and be stable and involved with the changes.
(23:21):
And you have to know, you know, kind of where fashion is going. And because of a guy's going to spend a large amount of custom clothing, he doesn't want to look up next year or two years from now, three years from now, whatever that time might be and say, hey, it's all outdated.
And then you have clients who want outdated kind of look at the entire right.
(23:45):
Look at Michael Jordan, for example, Michael Jordan, soops.
You know, it's got a little better, but he's still had the broad shoulders and the white pants. Right.
And, you know, if you talk, if you talk about adoptability, Steve Harvey has been able to adapt from his longer, close wider pants. He now has some of a reputation as a guy who knows fashion.
(24:14):
Right. It's all about the mental kind of mental point of where that kind is and bringing them out of the past and into the future or into the present rather.
And then some just kind of restuck in the past, you know, Michael Jordan knows he looked great and when he knew him for his style, and he was the greatest of all time.
(24:35):
So it's a little difficult, I think, for him to break that fashion trend of the 90s and get into the thing today that we're happening today in terms of the silhouette thing in suits.
Right, right, right.
Woody Wilson, yeah, I mean, this has been some some great advice and you know, sharing your story.
(24:58):
I really, really appreciate it. We're can we're can people find out more about the Woody Wilson collection and more about you in general.
Well, you can find me anywhere on the internet, Woody Wilson dot com. We're on LinkedIn and social media.
Anywhere on social media, you can find us.
And reach out in contact us.
(25:20):
We are only a phone call away and we operate by appointment and we do service clients all over the country. So we'd be happy to jump on a plane and come on out and measure you up and create a custom wardrobe for you or your wife, your children.
Yeah, anything from suit shirts, tuxedos, top coats, casual wear sportswear.
(25:43):
We are available to make the make that happen for you.
Woody Wilson, thank you so much for joining me on black in the green room.
Be sure to follow me.
Underwood at Mr. June L underwood on IG.
You can also follow me on FB at key L underwood.
And you know, you got to follow black in the green room at black in the green room across all platforms until next time this has been black in the green room.
(26:09):
Changes?
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