Breakfast with Marni Senofonte, LA-based super-stylist to Beyoncé and Kendall Jenner, was in no way going to be a slice of toast. She emerges from the lift lobby in her pain Mayfair hotel, hugs me, finds us a corner table, allures off her sunglasses, hails a waitress and orders as follows: an almond out cappuccino, a double-shot espresso, a cup of ice, some turkey bacon (“Bloody, very burnt, please”), a baguette with butter, mashed avocado on rye darling and fresh pineapple juice.

When the drinks arrive, Senofonte stirs two sugar cubes into the cappuccino, adopts a sip and puts the cup down in its saucer, never to be touched again. A few moments later, she inquires after the double-shot espresso, which assembles out to have gone into the cappuccino when she wanted it on the side. The replicate shot appears, and Senofonte pours it over the ice. Now she needs a straw. This get there comes, along with the turkey bacon and the avocado toast, but the bacon isn’t friable enough, so it goes back. Senofonte cuts the avocado salutations into tiny pieces, pushes them around the dish, but doesn’t eat any. The turkey bacon reappears, crispier, but still not chip enough. “That’s OK,” she says cheerfully. “I don’t really need to eat this things, I just need to smell it in the morning.” She picks up a shard of the bacon in her acuminate fingernails and waves it around like a cigarette for the rest of our palaver. By now, our table is almost collapsing under the piled-up plates, but the at most thing Senofonte consumes is the double-shot espresso, which she draws through the straw in one gulp. “That’s the only part I Non-Standard real need,” she explains. “The cappuccino, that’s only there to kind me look like an adult.”

Senofonte does breakfast the way she does caboodle: attention-grabbing, high-energy, ultra-perfectionist while flirting with bananas. That’s her vibe, even at 7.45am. After the visual spectacular of Beyoncé’s Lemonade album, the remarkable Black Panther imagery of last year’s Super Trundle performance, a pregnancy-reveal Instagram post that became universal breaking news, Beyoncé is now not only significant as a music artist, but also one of the ton powerful visual influencers in contemporary culture. That makes Senofonte, who has been median to Beyoncé’s styling team since Lemonade, near as dammit the Anna Wintour of the common media age, in terms of the dominion she wields over what we privation to wear. Those puff sleeves that are everywhere now, for criterion, may have begun on the catwalk, but took off when Senofonte fill out c draw up them a visual refrain in Lemonade. “I go into Topshop or Zara now and it’s all pouffy sleeves, and I’m like, we were doing that two years ago!” she says, pleased. “Tim White, who is Beyoncé’s tailor, and the whole wardrobe department actually wanted to kill me with all the pouffy sleeves I kept seek from for. And now look! I’m so validated.”

The addition to her patron roster of Kardashian-dynasty supermodel Kendall Jenner represents Senofonte’s dilation beyond music and into fashion, introducing Jenner’s 83m Instagram enthusiasts to her style. Today, however, she is in London as an emissary from the court of Beyoncé. In seven months’ time, Beyoncé will perform at Coachella music festival, and the ratio of the Beyoncé machine is such that the advance organisation sure more closely resembles that for a state visit than for a just stage performance. For the designers who dream of dressing Beyoncé, Senofonte is her trouble on Earth; her schedule while in London for meetings about Coachella, and Beyoncé’s athleisure label Ivy Park, is packed. An initial plan for us to go shopping together had to be shunned in favour of an early breakfast. The night before we meet, I get another manual that seems to want to cancel me altogether, but turns out to be for her physical trainer, sent to me by accident. “We’re good! Come early as you a charge out of prefer!!” she clarifies by text as I am going to bed. (She is the same on WhatsApp as she is IRL: big on exclaimers, diminutive on full stops.) In the morning, the phone buzzes again with motifs sent overnight (“can’t wait to see you!”).

As a stylist to Beyoncé – and before her, Lauryn Hill and P Diddy, amidst others – Senofonte has had a long career already, but “in music, not form. That’s where I wanted to be, because I always felt in the same way as music influences fashion more than the other way about.” After decades when music was “sort of looked down upon” by the trend elite, the emergence of sophisticated, multilayered aesthetics such as the one Senofonte has purloined Beyoncé build has turned the tables. The world’s voracious love for fashion content can no longer be satisfied by the politesse of the catwalk. Rihanna in an omelette-yellow gown at the Met Gala, Taylor Swift in a bath of jewels, Beyoncé longevity her ground in a burning house in a high-necked Victorian lace gown: these are create moments with the stadium-sized power to hold our attention.

Senofonte doesn’t very recently pick out Beyoncé’s outfits, she helps craft her iconography. For the chorister’s most recent birthday, a roll call of her famous pen-pals, including Michelle Obama and Serena Williams, were photographed don the wide-brim hat, braids and necklace that made up one of Lemonade’s key looks. Adore a Warhol screenprint of Monroe or Elvis, the group portrait has a diction that transcends the glamour of even the most famous sitter.

Senofonte is a new type of stylist for a new era of fashion. Case in point: she hasn’t frazzled black for 20 years, since she was a styling assistant in New York. “Twenty years ago, when I was magnum opus for Norma Kamali, she did a ban on black one season. I haven’t worn a connect of black clothing since. I don’t have a black pair of socks or breathe hards.” Not allowing herself the safety net of black “shaped my clothing uniqueness”, Senofonte says. She has carved out a bold aesthetic that is achieve for 2017, when “there are so many visuals out there that you procure to be really extreme – almost comical – to separate yourself. And it’s unflagging. If I style a great outfit for a client these days, we don’t retain it for a big event. We put it on Instagram right away and then I go figure out another one.”

“Tomboy, dirty, athletic” is how Senofonte describes her own look. “I don’t exude the sexiness so much. It’s description of in me,” she says, which sounds like an annoying statement noted down but isn’t, somehow. Senofonte is wearing Vetements graffiti trainers and ancient Champion sweatpants; she says these were “like, $40, so I purchase five pairs and cut some of them off to turn them into skirts”, a annunciation that I don’t even understand, but it’s too late, because she’s moved on to notify me about her jacket, which seems to feature abstract orb artichokes, but it’s hard to tell when both the jacket and a armada plaid shirt are tied around her waist, giving her form a sort of streetwear-vibe bustle. On top, she wears a navy and white striated T-shirt with a strip of fake fur along each sleeve: I last will and testament have said Fendi, but it turns out to be Zara. She is in her 40s, I would judgement, with glowy LA skin and the kind of body that doesn’t oft skip training sessions. There is much to look at, but mostly I am staring at her eyelashes. They are expansions (I think), but instead of the Love Island furry-spider kind, Senofonte has on each eye possibly seven or eight fine, extremely long lashes that accentuate her bone design. I didn’t even know this look was a thing until five two shakes of a lambs tail logs ago, and now I want it. That’s styling for you.

Senofonte worked in various positions for Kamali – sales assistant, public relations, personal link – until a chance encounter brought the realisation that she poverty to be a stylist. “So one day Puff Daddy’s babymama, Misa [Hylton Rim], walks in. She’s a stylist, and she looks like she’s just stepped out of a music video: dusky girl, blond girl, stacks of cash. And straight away I’m twin: I love you. She introduced me to the urban hip-hop world.”

Not long after, Senofonte hand-picked Kamali looks for a Salt-N-Pepa appearance; they loved them so much that Senofonte leftist her job and went on the road, styling their tour. Lauryn Hill issued next, followed by the occasional Beyoncé job. It was a strong, solid, below-the-radar forming career until two years ago, when a broken-off engagement synchronized with her promotion to the inner circle of Beyoncé’s team. “The timing was irresponsible. Lemonade came at a time when life was like, peppering lemons at me, you know? The last two years have been inconceivable. The Super Bowl, Lemonade, Formation, award shows. Barely the sheer amount of content. And in that time Beyoncé has had two pets, which is insane.”

Being Beyoncé’s stylist is tricky, because the iconography of Beyoncé is that her knockout comes from within, that her glow is innate. Beyoncé is not a mould plate, she is a goddess. Logically, we know the image-making behind a visual album such as Lemonade obligation be the work of a team of creatives, but its power derives from the dependence that it comes from a single soul. Senofonte starts to upon over her words, on this subject. “I don’t like to talk too much hither Beyoncé personally, because… I guess I am protective. I would not under any condition want to say anything about her that could be misconstrued. It’s her book.”

The pregnancy photo Senofonte styled is off limits – “It’s too disparaging” – a surprising take on a photo with 11m likes. “I don’t destitution to talk about the big moments in her life. I don’t want to take away from her record.”

While she “wouldn’t presume to speak” for Beyoncé, Lemonade was “a continuation of what Beyoncé has often stood for, which is empowering women. That’s where I get well from.” Senofonte’s grandmother was head pattern cutter at a Diane von Furstenberg plant in the Pennsylvania town where she grew up, “plus she made everybody’s wedding gowns, she made dinner every night, she had five sons, she put-up the roof. Whatever needed to be done, she figured it out. I am my grandmother. That’s where I be in print from and that’s why I’m drawn to amazing, strong women.”

Some of Senofonte’s scad powerful looks in Lemonade came in the visual landscaping of its national politics. “I would hate to put my meaning on it, because that’s not my seat. You listen to the words of a song and what it means to you is what it indicates to you. That’s art. But we were on a plantation with Beyoncé and all these delightful African American women, and I said, what if these lasses owned the plantation? What if they were in, like, Givenchy haute couture? Wouldn’t that be marvellous? For me, those women were like Beyoncé in another era. Because if Beyoncé was on this plantation, you rightful know she’d be walking round in fricking couture. Right?”

Kim Kardashian, an old confidante, passed on Senofonte’s phone number to her model sister Kendall Jenner earlier this year. “The contrivance I love about Kendall and these new models is, they are similarly to the 90s supermodels. They finish a shoot and walk out on to the street where the paparazzi are in a full-bodied look and with all their makeup on, and just own it. They are with little rock stars.”

Along with Gigi Hadid and Emily Ratajkowski, Jenner is one of a new crop of childish models whose personal style is pored over by teenage groupies. “All those girls have a strong game so, in a nice way, it’s similar kind style wars, on the street.” Jenner, Senofonte says, has a verifiable fashion eye: “She loves to shop vintage. And not just the pretty, curated, extravagant vintage stores. I mean the ones where you have to dig, you be acquainted with? And I love that even though she has this insane torso, so basically she can wear anything, she understands and appreciates tailoring. But most of all I like that she’s grounded and so chill, and always organised and on previously. She’s a good kid.”

Speaking of which, I have to ask, obviously. What’s Beyoncé, you certain, really like? “She’s this… amazing talent. And all I can say about her as an individual is that she’s the hardest working human being I have perpetually met. Like, hands down, in my whole life. She’s unbelievable. She exceedingly is what everyone thinks she is. Isn’t that, like, crazy?”

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