The Sister Act Behind Jacob Elordi’s Venice Takeover
Jacob’s Venice Film Festival looks went viral, but behind the effortless ease are two sisters reshaping the language of menswear styling
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Meet Jacob Elordi’s stylists: Wendi Ferreira and Nicole DeJulio
In Hollywood, celebrity stylists rarely become household names. Their work is visible, their faces less so. Yet every once in a while, a pair of sharp eyes and sharper instincts shift the way we think about men’s red-carpet dressing. Wendi Ferreira and Nicole DeJulio, the sister duo behind Jacob Elordi’s much-discussed looks at this year’s Venice Film Festival, are the latest case in point.
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Their careers began almost by accident. Nicole, still in design school at the time, was interning for Phillip Bloch and Linda Medvene when she decided she might pursue costume design academically. Her father, unimpressed, told her to get a job.
A chance encounter with Linda in a Soho restaurant days later changed the course of her career: she summoned the nerve to reintroduce herself, got hired almost immediately, and soon after brought Wendi into the fold. Suddenly, the sisters were assisting with fittings for A-listers, handling last-minute tailoring emergencies, and dressing stars for the Golden Globes.
Why they chose menswear
By 2003, they were charting their own paths. Nicole was on tour with Sheryl Crow, while Wendi worked on The Ellen DeGeneres Show. Eventually, they circled back to each other with a shared conviction. The space they saw was men’s fashion, which at the time amounted to a sea of black, navy, and gray tuxedos.
“Men weren’t really considered for styling as much as women were,” Nicole recalls in a past interview. What looked like a limitation became an opening. They leaned into the niche, learned its codes, and slowly expanded them.
The gamble has paid off. Wendi and Nicole have become some of the most reliable hands in Hollywood menswear, shaping a evolution of what leading men can wear. Their signatures are evident in key red-carpet moments: David Oyelowo’s bold crimson three-piece tuxedo at the Oscars, a choice that felt radical when color for men was still considered risky; Nicholas Hoult’s architectural Dior look in 2019, with a sash detail that rewrote the tuxedo’s silhouette without making it a costume. Both moments were convincing proof that men could take risks while still appearing authentic.
Jacob’s Venice looks
That philosophy has found its ideal match in Jacob Elordi, who arrived in Venice this year as the star of Guillermo del Toro’s Frankenstein and quickly became the week’s most-watched dresser. His airport arrival alone (a white T-shirt, black Willy Chavarria trousers, Prada sneakers, a Bottega Veneta Cabat bag rolling behind him) was dissected online as a revival of the casual, personal travel style that used to define movie stars.
Over the course of the festival, the narrative sharpened. He appeared in Bottega Veneta again: a checked shirt tucked into high-waisted beige trousers, sunglasses on, sleeves rolled with nonchalant precision. For the photocall, the same formula was reimagined in a custom all-white look with high-waisted trousers again, this time paired with black shoes.
And then came the premiere: a double-breasted tuxedo with a broad shoulder, long jacket, and ultra-wide trousers that pooled at the floor. Where most actors treat black tie as gospel, Jacob and his stylists treated it as suggestion. The result was a tux that moved like eveningwear in motion, more fluid than fitted and more relaxed than rigid.
It divided opinion. Were the trousers too long? Was the jacket too loose? The overall impression, however, was clear: Jacob had managed, in one night, to make black tie look both serious and alive.
The sisters’ styling philosophy
This, Wendi and Nicole would argue, is the point. “Let them be themselves,” Wendi says of styling men. “Not everyone can wear what [Jacob] wears.” Nicole emphasizes listening, understanding not just a client’s physical boundaries but also their sense of comfort and the way they carry themselves in the clothes. When done right, the clothes don’t eclipse the man; they reveal him.
Taken together, Wendi and Nicole’s work tells a larger story about the shifting center of gravity in Hollywood style. Where women once monopolized the headlines, men are now becoming the site of some of the most interesting experimentation. And if Jacob Elordi’s Venice wardrobe is any indication, the sisters are leading the pace with that evolution.
Photos courtesy Instagram
Frequently Asked Questions
Jacob Elordi was styled at the Venice Film Festival by Wendi Ferreira and Nicole DeJulio, a sister duo who have spent over two decades shaping Hollywood menswear. Their work with Elordi — across his airport arrival, photocall looks, and tuxedo premiere — became some of the festival’s most discussed fashion moments.
Elordi’s Venice wardrobe included Willy Chavarria trousers and Prada sneakers for his airport arrival, a Bottega Veneta checked shirt with high-waisted beige trousers for the photocall, and a double-breasted tuxedo with broad shoulders, a long jacket, and wide-leg trousers that pooled at the floor for the premiere.
Wendi Ferreira and Nicole DeJulio are Hollywood celebrity stylists and sisters who specialize in menswear. Their career began assisting veteran stylists Phillip Bloch and Linda Medvene before they established their own practice. Notable past clients include David Oyelowo and Nicholas Hoult, for whom they have consistently pushed the boundaries of red-carpet menswear.
The sisters identified menswear as an underserved space in early 2000s Hollywood, when leading men’s red-carpet dressing was largely limited to black, navy, and gray tuxedos. Recognizing the gap, they built their practice around expanding what men could wear — treating formal dressing as a starting point rather than a constraint.
Their philosophy centers on revealing rather than transforming — letting the clothes reflect who the client already is. Wendi emphasizes that not every man can wear what Jacob Elordi wears, while Nicole focuses on understanding a client’s physical comfort and how they carry themselves, ensuring the clothes serve the person rather than overshadow them.
