Stylist and designer Wade Stephens didn’t study fashion or follow a linear path into the world of wardrobe. Instead, he carved out a niche for himself through music, curiosity, and a whole lot of hustle. Based in Portland, Maine, Stephens has worked on everything from indie films to liquor campaigns, all while building his own brand and aesthetic (@alittlehouse_ on Instagram). We caught up with the self-taught stylist to talk about how he got started, what a typical day looks like, and why he dreams of pushing fashion far beyond the commercial frame.
Let’s start at the beginning—what sparked your interest in styling in the first place?
I used to do music production for about a decade when I was younger, and there’s such a strong connection between music and fashion. The deeper I got into music, the more I immersed myself in that culture, and fashion just became part of it. Eventually, I started making clothes, and then naturally that evolved into styling. At first, I was just dressing myself and my friends. I got into the industry because my former partner was an art director, and she helped connect me with people. I started out doing PA work and then moved into assisting stylists on jobs like L.L. Bean, and eventually I landed my first campaign styling for Subaru with Best Wishes Productions. That opened the door for me.
Did you have any formal training?
Nope, I’m completely self-taught. We live in an age where observation is education—you’ve got YouTube, Instagram, and so many other tools to learn from. I watched a ton of old runway shows from designers like Jean Paul Gaultier, Yohji Yamamoto, and Junya Watanabe. I learned a lot just by watching how garments moved and how people styled them.
What does a typical day in your life as a stylist look like?
I wake up and pick an outlandish outfit off of my rack, usually something silhouette-heavy and all black. I consult the deck, which I’ve usually gotten a day or two before my prep days, full of references and criteria for what I need to buy for each character. I get in the car and head right for Speckled Axe, which is the best coffee in Portland in my opinion.
Then comes sourcing, which is by far the most time-consuming part. I’ll spend days hitting every box store within 30 miles of Portland. I tend to avoid shopping locally when I know I’ll be returning 99% of it, because it just doesn’t feel ethical. Once, before I was styling, I helped return $2,000 worth of plates and cutlery to a small shop downtown, and the owner nearly cried.
After sourcing, I go home and start piecing together outfits, photographing everything, creating folders, emailing and texting back and forth. It's a lot of waiting, because decisions have to go through producers, agencies, and clients.
Next is shoot day. I load everything into my car and head to the set, which is sometimes a studio, sometimes a ski resort, or even a fancy house in Cape Elizabeth. Once we’re there, it’s dressing people, making sure everything’s approved, managing wardrobe changes, and keeping track of continuity for editing. Afterward, I return the bulk of what I bought. Returns are always fraught. Cashiers hate to see me walk in with four huge bags and a giant receipt dangling out of my bag.
Do you ever make clothes for a shoot?
Definitely. Especially for Halloween campaigns, which are always tricky because we shoot them in the summer and seasonal gear is impossible to find. I end up sewing a lot myself, dyeing fabrics, distressing garments. One recent shoot, my partner and I spent five sleepless nights working on wardrobe. It was wild, but fun.
How has living in Maine shaped your creative perspective?
It’s had a huge influence. Every shoot I do is Maine-centric. Clients want to see “Maine,” and even if I wanted to push a different aesthetic, the work is rooted in representing this place. There's something mythic about Maine that people outside the state are fascinated by—the beaches, the lobster, the ruggedness. So our film and advertising work kind of has to reflect that. I think the winter aesthetic is the most distinct: cable knits, flannels, Bean boots, layering on top of layering. People say I dress like a vampire, so I’m not pulling directly from that, but I can still appreciate the vibe.
Where do you go for inspiration or to shop for yourself?
I make most of what I wear, but I love places like Material Objects on Congress Street. They’ve got a wide range of stuff, from wild to conservative. Moody Lords also has a great vision, and I love going to Renys. The ambiance there just feels like a true Maine experience.
Who are your biggest style influences?
Rei Kawakubo of Comme des Garçons. She’s a singular genius. Her work is all about discovery and play, and her sensibility for silhouette is unmatched. I also love Martin Margiela, who brought upcycling into the public eye in the '90s. He was way ahead of his time in terms of sustainability. Now he makes sculptures and is done with fashion. I really respect that.
My favorite stylist is Michiko Kitamura, who has a sensibility for eccentricity that feels rooted in another world. Her work in the movie Ichi the Killer is what made that film the visual freak show that it was. The bright colors and dissonant textures really scratch an itch in my generally monochrome world. She has this kind of manic nihilism about her work that really touches and inspires me as a creative.
As for up-and-comers: I love Chitose Abe at Sacai, Ryota Murakami at Pillings, and Danial Aitouganov and Imruh Asha at Zomer. They’re experimental and thoughtful but still wearable. They’re not pandering, they’re playful.
What’s your dream project?
Editorial fashion campaigns, without a doubt. I’d love to reinterpret a runway collection or style a cover shoot for Beauty Papers Mag or Acne Paper. I love what brands like Loewe and Jacquemus are doing by pushing the boundaries of how brands interface with customers. Right now, my work is modest and populist, and I’m okay with that. But I hope I get the chance to do more creatively adventurous styling in the future—something that encourages discovery, that lets people think differently about how they wear clothes.
I'd love do more creatively adventurous styling in the future—something that encourages discovery, that lets people think differently about how they wear clothes.