The Met Gala, “The Devil Wears Prada 2,” and the State of Style

Summary

Critics at Large | The New Yorker

Episode: The Met Gala, “The Devil Wears Prada 2,” and the State of Style

Date: May 7, 2026
Hosts: Vinson Cunningham, Naomi Fry, Alexandra Schwartz

---

Overview

This lively episode centers on the intersection of high fashion and pop culture, taking stock of two major events: the 2026 Met Gala and the release of “The Devil Wears Prada 2.” The critics delve into what these spectacles reveal about shifting power in fashion, the politics of taste, and their own personal approaches to style. They consider the ever-blurring lines between art, commerce, and celebrity, address the anxieties of the digital era, and reflect on how style remains both a personal journey and a collective experience.

---

Key Discussion Points & Insights

1. Weird Chanel Sandals: Fetish Meets Fashion

• [01:33 – 02:52]
  • The hosts discuss the now-infamous Chanel sandals featuring a heel “nestled in a little basket with straps,” leaving most of the foot bare.
  • Vincent Cunningham offers a defense, thinking about their irreverence at a beach or garden party:
    “Now all of a sudden, you've got a little extra sprezzatura.” [01:55]
  • Naomi Fry notes, “There’s something weirdly sexual about them. And when I say sexual, I mean like, like perverted.” [02:11]
  • The conversation touches on the foot-fetish resurgence in fashion and OnlyFans culture.

2. The 2026 Met Gala: An Elite Circus

• The Tradition and Spectacle
  • Naomi Fry recounts firsthand observations of pre-Gala chaos outside the Met:
    “There were hordes of fans already waiting behind police barricades... K-pop fans, Instagram vloggers... news teams. This is a huge logistical operation. This is a big deal.” [07:12 – 08:33]
  • The panel considers how the event fuses exclusivity with mass entertainment:
    “The event strikes that interesting balance between being mass entertainment provided by a very elite few, and something like Schadenfreude fuel.” — Alex Schwartz [16:45]
• Theme Interpretation & Celebrity Vulnerability
  • Themes, since the Diana Vreeland era, drive guests’ fashion choices; the 2026 theme was “Fashion is Art.”
  • Vincent: Sees much literalism (“dress up as the artwork”), but appreciates more conceptual interpretations like Sabrina Carpenter’s film reel gown and Angela Bassett’s pink dress referencing Laura Wheeler Waring. [10:22 – 11:16]
  • Naomi:
    “If you’re just gonna wear like a nice gold dress, people are gonna be like, eh, boring… but then if you go all out, people might be like, oh, she looks ugly.” [13:01]
  • Heidi Klum, known for wild Halloween costumes, attends as a shrouded sculpture.
    “She kind of writhed on the floor, she couldn’t stand up… it’s a risky proposition...” — Naomi [12:37 – 13:32]
  • The hosts comment on the pressure:
    “It’s not like a premiere of a movie... it’s kind of the only thing that matters is what look you chose. That’s the main event.” — Naomi [13:54]
• Billionaires and the ‘Hunger Games’ Vibe
  • Discussion of Jeff Bezos, Lauren Sánchez Bezos, Mark Zuckerberg at the event.
  • Alex:
    “No one’s gonna remember the theme… Everyone’s gonna remember this as the year the billionaires bought their way into the Met Gala…” [36:35]
  • Public fascination with Lauren Sánchez Bezos’s look and media speculation about whether her stylist was “part of the resistance”:
    “Law Roach. Welcome to the resistance.” — Naomi [37:52]

3. “The Devil Wears Prada 2”: Popcorn, Pathos, and Precarity

• Return to Runway
  • Alex:
    “Well, 20 years later, the wait for Miranda Priestly to return is over… All the major players are there… And the new film came out last Friday.” [22:54]
  • The film opens with a thinly-veiled Met Gala, but what follows is darker.
• Plot Summary and Themes
  • Andy Sachs, now a journalist, is laid off at an awards gala; she’s forced to return to Runway, where Miranda Priestley is now vulnerable in an era dominated by billionaire owners and relentless online content.
  • Vincent:
    “We enter into this movie in a mood and an environment of precarity in the journalistic world... she's recommended to go back to Runway magazine… once again work under Miranda Priestley...” [24:12]
  • There’s a palpable sense of decline in both media and fashion; the magazine’s print “Book” is “shrunk down to a tiny portion of what it was.”
    “People scroll by as they pee.” — Nigel (Stanley Tucci), per Alex [26:02]
  • New billionaire owners crave taste, social acceptance:
    “The billionaires… are totally tasteless, but want to buy their way into taste.” — Alex [26:02]
• Critique and Reflections
  • Naomi finds the film’s tone awkward:
    “It's a very kind of odd and awkward balancing act... to portray the way things are now… but still echo the first movie.” [27:17]
  • Vincent is more forgiving:
    “I thought it kind of admirably did try to be about decline… In its best moments, it did sort of try to engage with a real environment of precarity.” [28:46]
  • The critics agree it’s rare for a blockbuster to tackle the vulnerability of cultural industries so directly.

4. Power, Taste, and the Politics of Fashion

• The sequel and the Met Gala both dramatize the shifting of power from magazine editors (like Miranda) to billionaires (Bezos, Zuckerberg types).
• Alex draws a parallel with the original film’s cerulean monologue, where Miranda explains how taste “trickles down.” In 2026, that centralized power is fractured.
  • Alex:
    “Now… the dynamic in the movie is more about the shifting locus of power where that is no longer the case.” [33:30]
• Discussion around the ambivalence of billionaire “stewardship”:
  • Vincent:
    “There is some level of surrender to plutocracy that says, we just hope that they decide to pay attention to the right things instead of the wrong things.” [35:09]

5. Personal Style: Roots, Gender, and Play

• [38:51 – 52:38]
  • Each critic shares a personal narrative about their relationship with clothing and identity:
    • Alex: Was forbidden to wear pants as a child, remembers making bold choices (glitter bell-bottoms at Hebrew school), and sees style as a way of “owning it” despite external judgment.
      “What can happen if you just try to express yourself through clothes. You gotta own it, guys.” [40:42]
    • Naomi: Never conformed to conventional femininity, views herself as a “conceptual dresser.”
      “It’s not necessarily what’s flattering... but more of kind of an idea, kind of a cultural idea.” [43:49]
    • Vincent: Influenced by New York street style, Ralph Lauren, Dapper Dan, religious and cultural imagery. Style is memory and street, ever evolving.
      “Style is always... about two things. Nomi mentioned memory, and then I would also just add the street to that.” [44:27]
      On gender:
      “I do think that dressing is a way to try to achieve gender euphoria. In a weird way, it's like, what kind of man am I?” [46:46]
  • The panel discusses the tension between personal agency and industry influence—a nod to the enduring relevance of Miranda Priestly’s “cerulean monologue.”
    • Alex:
      “Things on the street are filtering down to us from somewhere else from the industry... there are more opportunities... to experiment.” [50:30]
    • Naomi:
      “Even if the choices we make are influenced... the way we combine these choices are still singular, I think.” [52:08]

---

Notable Quotes & Memorable Moments

• Vincent Cunningham:
  “I tend to defend our opportunities to just look at things that provoke pleasure in our lives. He’s a hedonist, folks.” [18:34]
• Naomi Fry (on fashion risk):
  “If you go all out, people might say ‘Oh, she looks ugly. She’s not bankable.’” [13:01]
• Alex Schwartz (on style’s daily challenge):
  “Fashion is political, yes, but of course, it's also deeply personal.” [37:58]
• Group Reflection:
  “If you can realize ideas about yourself and about the world through the way that you dress, I think that's cool.” — Vincent [47:51]

---

Timestamps for Key Segments

• Chanel Sandal Discourse: 01:33 – 02:52
• Met Gala Reflections and Theme: 06:28 – 15:05
• Billionaire Invasion & Public Reaction: 15:05 – 17:07, 35:09 – 37:58
• Devil Wears Prada 2: Plot & Critique: 21:34 – 33:30
• Cerulean Monologue Redux & Power in Fashion: 32:51 – 33:30
• Personal Style Stories: 38:51 – 52:38

---

Conclusion

This episode weaves the spectacle of two fashion landmarks—the Met Gala and the new “Devil Wears Prada”—into a nuanced meditation on who decides what’s stylish, how new power brokers shape aesthetics, and how, despite it all, personal style remains a site of memory, play, and agency. With self-aware humor and incisive critique, the hosts remind listeners that fashion is never just about clothes—it’s about the shifting culture in which we all take part.

Transcript

[Podcast Advertiser]

This episode is brought to you by Progressive Insurance. You chose to hit play on this podcast today. Smart choice. Make another smart choice with Auto Quote Explorer to compare rates from multiple car insurance companies all at once. Try [e-mail], progressive Casualty Insurance Company and affiliates. Not available in all states or situations. Prices vary based on how you buy.

Something about spring makes me want to get really intentional with my time and treat myself with care. And that includes getting dressed. Quince makes it easy to live in the moment with pieces that are effortless, comfortable and a joy to wear. Quince helps me celebrate the season with a gorgeous line of lightweight, breathable staples in premium materials like 100% European linen, organic cotton, and the softest denim ever. And Quince makes luxury affordable. Everything is priced 50 to 80% less than similar brands. They work directly with ethical factories and cut out the middlemen. So you're paying for quality and craftsmanship, not brand markup. I've been loving the Mongolian cashmere tea. Such a perfect layering piece. And it looks great on its own, too. Refresh your everyday with luxury you'll actually use. Head to quince.com nycritics for free shipping on your order and 365 day returns. Now available in Canada too. That's Q-U-I-N-C-E.com nycritics for Free Shipping and 365 day returns. Quince.com nycritics

[Nomi Frye]

okay, guys, we need to talk about the Chanel sandals, which only has kind of like the heel nestled in a little basket with straps. And then the rest of the foot is kind of flying free.

[Alex Schwartz]

It had a heel and a strap and then a bare foot.

[Vincent Cunningham]

You know what? I don't hate them.

[Nomi Frye]

Oh, Vincent, would you wear them, Vincent? I mean, I know they're weird.

[Alex Schwartz]

I wouldn't.

[Vincent Cunningham]

I don't think I would wear them. But think about the beach. Think about a garden party, a place where someone might go barefoot and you wouldn't mind too much as a sort of fashion move. Now all of a sudden, you've got a little extra sprezzatura.

[Nomi Frye]

There's something weirdly sexual about them. And when I say sexual, I mean like, like perverted.

[Vincent Cunningham]

It's like fetish. And this is the other thing. Yeah, it's the other thing. This is like the way fashion comes to us right from above and from below. No one can deny that feet are sort of in right now. And it has to do with weird, like, onlyfans stuff. It's got all this, like, all these. I don't know these reverberations in the culture.

[Alex Schwartz]

Yeah, Vincent, you gave me an important reframe, which is that I should not be thinking about this as a shoe missing three quarters. I should be thinking about this as a foot that's gained a little something.

[Nomi Frye]

It's barefoot, plus it's the glass half foot.

[Alex Schwartz]

Yeah.

[Vincent Cunningham]

There you go.

[Nomi Frye]

This is Critics at Large, a podcast from the New Yorker. I'm Nomi Frye.

[Vincent Cunningham]

I'm Vincent Cunningham.

[Alex Schwartz]

And I'm Alex Schwartz. Each week on this show, we make sense of what's happening in the culture right now and how we got here. Hello, friends.

[Vincent Cunningham]

Hey.

[Nomi Frye]

Hello.

[Alex Schwartz]

Well, we've been wanting to do a fashion episode for truly what feels like forever. And this week, finally, the stars aligned to give us two huge fashion world events to discuss. We are taping this episode the very morning after the Met Gala. Museum worthy masterpieces Stunned on the Met Gala red carpet. This year's theme costume art alongside the

[Nomi Frye]

looks, the drama, the drama, the carpet, the stars, the bezos of it all.

[Alex Schwartz]

Oh, we will get to that and more. And we are also fresh off the release of the Devil wears Prada 2. It had a huge opening weekend. It made more than $233 million worldwide. Am I reading that number accurately? That is more than Oppenheimer. People are watching this film Runway.

[Vincent Cunningham]

It's not just a magazine. It's a global icon.

[Alex Schwartz]

A winding.

[Vincent Cunningham]

That brings us back.

[Alex Schwartz]

The iconic original Devil Wears Prada came out two decades ago, 2006. And the Devil Wears Prada 2 is, I think it's fair to say, darker than its predecessor. It dramatizes some of the real world shifts that have taken place in the fashion world and dare I say, the magazine world over the last two decades. Guys, hit me with them.

[Nomi Frye]

I mean, the decline of magazines and the rise of online, of course, as the main driver of content.

[Vincent Cunningham]

Yeah. And with that, the sort of changes in audience structure, the curational aspects of what magazines do sort of like direct people to certain, I don't know, not just trends, but also pieces of writing as almost totally reversed, where the lots of publications are just trying to chase cliques, et cetera. That was one of the points of anxiety in there too.

[Nomi Frye]

And the rise of fast fashion, which also makes an appearance in Devil Wear's Prada, too, is a kind of thing to contend with ethically and commercially.

[Alex Schwartz]

Yeah, absolutely. Fashion is in the midst of a huge transformation. It's an industry, of course, built on tastemaking. But the institutions and the figures who've done that in the Past are now having to adapt to new ideas about who tastemakers should be. So today, we are talking about fashion and about the art and the ethics of who decides what. Stylish. And one thing I love about this topic is that it's political, but it's also deeply personal. I want to know about your senses of style and where they came from and how they're evolving, how you see yourselves in fashion, because, let's face it, you gotta wear clothes every day. And so that's today on Critics at Large, the Met Gala, the Devil Wears Prada and the state of style. Okay, let's start with the Met Gala. This is a tradition that's been going on for 78 years. It shows no sign of slowing down. Is this something you look forward to? Are you aware of the first Monday in May? Tell me about it.

[Nomi Frye]

I am always aware of the first Monday in May, even, just like the branding of that term, the first Monday in May. I'm not only aware of the first Monday in May, but I'm also aware of the last Friday in April or the first Friday in May, as the case may be, which is the kind of, like, pre. The Vogue pre party that happens before. And it's always at some, like, quirky venue. But I've never, you know, come within, like, spitting distance of the Met Gala, and yet I am fascinated by it, and I kind of always have been.

[Alex Schwartz]

Nomi, I know that yesterday you happened to find yourself on the Upper east side.

[Nomi Frye]

Yes, I was actually taking the bus up Madison Avenue. And I guess because I had never actually been on the ground in the area, it really brought home to me what a big deal it is on the level of even, like, organizational city stuff. You know, there was, like, a huddle of, like, dozens and dozens of cops kind of getting ready, getting a briefing. You know, all the streets were close. All the blocks were closed to traffic. Then I was like, okay, after I finished my errand, I was like, I'm gonna go. I'm gonna go by the Met and see what's going on. And there were hordes of fans already waiting, you know, behind police barricades. And this is again, like, 1pm or something. There were, like, K pop fans, you know, waiting for their, like, favorite performers who were, I guess, guests at the gala. And there were, you know, lots of kind of, like, Instagram, you know, vloggers, like, people like that kind of milling around. Of course, a lot of traditional media kind of, like news teams and stuff like that. And there are, like, hotels in the area where People are getting ready. So around them, like the Mark and the Pierre and Carlisle, and just seeing it in action, being that close to it, which I'd never been, I was like, this is a huge logistical operation. This is a big deal. It just kind of felt a little different.

[Alex Schwartz]

Vincent, you were a man of style.

[Vincent Cunningham]

Ah, you know, I do.

[Alex Schwartz]

Okay.

[Nomi Frye]

He's wearing what appears to be a linen. A linen. A button down linen shirt.

[Vincent Cunningham]

Yeah. This is the summer uniform.

[Nomi Frye]

Summery. Yeah.

[Alex Schwartz]

How does the Met Gala play into your calendar of the year?

[Vincent Cunningham]

It's so funny. It didn't for many years. I guess I knew that it happened and I would see the odd image now and then, but I feel that it really came to forefront of my consciousness about seven years ago when the theme was Camp Notes on Fashion.

[Nomi Frye]

Oh, yes.

[Vincent Cunningham]

Remember that? I think that was 2019. And there was something about that theme and its many various interpretations. People are notoriously finicky about the word camp and what it actually entails. That it really did seem to strike something in the larger culture that people were sort of looking at the broadcast of the red carpet, sort of parsing the outfits for their adherence to the theme. So to me, a lot of the. My attention to the Met Gala is this issue of interpretation. Okay, there's gonna be a theme, and then how does one faithfully or unfaithfully, you know, correctly or incorrectly adhere to it?

[Alex Schwartz]

Mm, yeah. I mean, let's go right to theme. Theme has been a thing at the Met gala since the 70s, which is when Diana Vreeland stepped in and had this idea to make each year around a different theme. And you just gave the example of Camp Notes on Fashion. Last year, the theme was all about black dandyism. And this year, the theme was costume art. And the corresponding dress code was Fashion is Art. What did we make of that as a prompt, and how do we feel that people did with it?

[Vincent Cunningham]

Yeah, Fashion is Art is a very broad theme, and it invited people mostly to make references to artworks. I'm thinking of Angela Bassett's Very pretty, I thought Pink dress that referred to a painting by Laura Wheeler Waring, who is a black painter. Harlem Renaissance era. So there's a lot of that references to specific artworks or sort of two artworks in the abstract. I'm thinking about the Sabrina Carpenter's dress that was like, made of a bunch of film reels.

[Nomi Frye]

Right.

[Alex Schwartz]

Of the movie Sabrina.

[Vincent Cunningham]

Of the movie Sabrina, this sort of more conceptual approach. There was a lot of, I think, conservatism. This year, there's a little bit More subdued vibe. But the ones that did play a little bit more with the theme did point to the extent to which art itself can be a carrier of fashion.

[Alex Schwartz]

I think some of the fun of the Met Gala is trying to see what goes on inside the brains of these celebrities because it's so high stakes for them. Like, I think that's what makes. I know that some people watch this, of course, and they want to know what the looks are and they want to celebrate the looks and just surround themselves with sumptuous fashion. And I watch to be like, what are you thinking?

[Nomi Frye]

Yeah.

[Alex Schwartz]

What is. What are you hoping to put out there? It's really interestingly vulnerable. Like, you go to an award show, you wanna look good, you wanna look beautiful. But the Met Gala is asking you to do some kind of creative thinking. And I find this theme to be such a fascinating, almost like passive aggressive trap. Fashion is art. First of all, it sounds very defensive to me. Like, who's saying it's not? And I guess many people. So I found there to be a lot of literalism. Like, I was a little bit less into the dressing up as works of art in the museum collection, even though some of the individual I really enjoyed. I really liked Hunter Schaeffer, who was dressed as a Klimt painting with these kind of very light, beautiful, like, girlish embellishments, floral embellishments on.

[Nomi Frye]

In a Prada dress.

[Alex Schwartz]

In a Prada dress. There were some really obvious, like, talk about camp. Heidi Klum dressed as a shrouded sculpture.

[Nomi Frye]

Yeah. Heidi Klum was like, we know from Halloween's past that Heidi Klum loves to dress up outrageously in ways that are almost admirable because it looks. It's often like, remember when she was a worm? She kind of writhed on the floor, she couldn't stand up, and she was like, interviewed while lying on the red carpet in this kind of gross host of a. You know, so it's a way for people. I think, Alex, the vulnerability thing that you're pointing to, I think the idea of a theme and the idea of dressing up does really. It's a risky proposition because you're like, if you're just gonna wear like a nice gold dress, people are gonna be like, eh, boring. You know, but then if you go all out and you're like, you know, you go crazy. Like, you do the Heidi Klum thing, people might be like, oh, it's not. She looks ugly. She's not bankable. You know, whatever it is.

[Alex Schwartz]

Well, she doesn't care. I mean, Heidi Klum does not care.

[Nomi Frye]

I'm not trying.

[Alex Schwartz]

Yeah. She went as a large shrouded sculpture.

[Nomi Frye]

Yes. Heidi Klum is a lemon kiss. I mean. Yeah. No, and I actually admire it, but I just mean, okay, are we gonna make a pretty picture? Are we gonna push the envelope? And it's interesting for the first time ever, because I knew we were doing this recording today. Yesterday, I watched, like, a live feed of the carpet, which I never have. You know, I usually just, like, look at images either on Instagram or, like, Daily Mail or Vanity Fair or whatever it is, you know, Vogue. And it was kind of one of those, like. I don't even know. I think it was cnn. But it was kind of like one of those shaky feeds where you just see the people posing for photographers and you see assistants scurrying around them, arranging the train just so, and, you know, everything around them to make the perfect image. And you see them, like, you know, striking a pose, like, you know, smiling and then not smiling and then looking over the shoulder and then doing. And you realize how I almost had a panic attack just watching it, you know, because it's like the look is so. So much kind of the thing, you know, it's not like a premiere of a movie. It's not. It's like, kind of the only thing that matters is, like, what look you chose. That's the main event.

[Alex Schwartz]

Yeah, I understand that. I mean, what I'm thinking about is the relationship between the performer, because all of these celebrities on the carpet here are perform, as you say, Nomi. This is the event. It's not in support of a movie that everyone's about to go see. It's in support of themselves and their own image. So quite a good. Quite an amount of power is actually with us, the viewers who could not cough up $100,000 for a ticket to this event and who are watching from our snarky phone screens and participating in. For me, what the mass spectacle of the Met Gala is really about is as a social media event, I am very skeptical of big pylons, et cetera. But I do like participating on social media because I love seeing smart, funny, creative people analyze looks, appreciate looks, and also do the opposite of appreciate looks. So much of it is about the bread and circuses. Are we pleased with what we see? And I do think a lot of the discourse around the Met Gala has been exactly that. One thing I noticed quite a bit of this year was people commenting, you know, and they do every year, but even more so now, now that Jeff Bezos, Lauren Sanchez Bezos are so prominently part of this. And also, let me say, not the only tech titans there. Mark Zuckerberg and his wife Priscilla Chan were inside. They skipped the carpet, interestingly. Perhaps they were afraid of figurative or literal tomatoes being thrown, but there was a lot of Hunger Games talk. There's a lot of, what is going on? How is this happening? Look at the rest of us.

[Nomi Frye]

Yeah.

[Alex Schwartz]

Titanic vibes. Major Titanic vibes. So the event strikes that interesting balance between being mass entertainment provided by a very elite few, and something like Schadenfreude Fuel. And that makes it fascinating. So, Vincent, I'm curious. What do you think the met gala in 2026 is for?

[Vincent Cunningham]

Well, I think it can't first of all be overstated, the extent to which it really is just the biggest and most visible night in the fashion industry. I tend to appreciate a refreshing of just, like, seeing what people are able to make and the ideas that fashion puts out. I don't know, kind of still is important to me, but it's a great moment to see and also to hear it discussed, which we don't often do. On the feed that I was watching, the E Feed, there was a moment when the designer Christian Siriano came on, and he's famously been on Project Runway, and besides being a really good designer, kind of just knows how to speak about clothes. And he was being really critical of some of the looks and talking about in this really minute way. And it was so refreshing to hear a whole vocabulary, a lexicon, pointed at objects that I was looking at too weirdly. The theme fashion is art is, to me, the reason for this event. It's like, it's the one time where divorced from utility and other reasons, it's okay to just look at fashion. And as somebody who looks at lots of other things that people think of as frivolous, like, I'm thinking about sports. The other big event last night in my life was the Knicks game. I tend to defend our opportunities to just look at things that provoke pleasure in our lives.

[Alex Schwartz]

He's a hedonist, folks.

[Vincent Cunningham]

That is what I'm trying to tell you.

[Alex Schwartz]

When we're back, we dive into the Devil Wears Prada. Two critics at large will be right back. Hi, I'm Rebecca Ford. And I'm John Ross. And we're the hosts of Little Gold Men, Vanity Fair's podcast for film, TV and awards lovers. And just because the Oscars are done for now doesn't mean we are. Join us every week for coverage of the biggest stories in Hollywood interviews with today's brightest stars, and so much more. Listen to Little Gold Men every Thursday wherever you get your podcasts.

[Podcast Advertiser]

This show is supported by Odoo. When you buy business software from lots of vendors, the costs add up and it gets complicated and confusing. Odoo solves this. It's a single company that sells a suite of enterprise apps that handles everything from accounting to inventory to sales. Odoo is all connected on a single platform in a simple and affordable way. You can save money without missing out on the features you need to Check out Odoo at o d o o.com that's o d o o.com on the

[Alex Schwartz]

tranquil shores of Amelia Island, Florida. Salt air, sunshine and gentle sea breezes invite you to enjoy the luxury of letting go wander pristine beaches, breathe deeper on quiet nature trails, or simply get lost in the charm of a downtown stroll. Discover the Northeast Florida getaway, where every day feels a little different and completely your own. Find your unwind@ AmeliaIsland.com.

[Vincent Cunningham]

Before we get back to the conversation listeners, it's that time again. We're working on another I Need a Critic episode. We've come to really love this series because it gives us a chance to hear from you.

[Alex Schwartz]

Oh yeah, you all know the drill at this point, but for anyone who doesn't, don't fear. All you have to do is record a voice memo on your phone with a specific cultural question that we can help you with. Maybe you're looking for the perfect book to read after you just had a baby and you have no attention span or time. Maybe you want to know whether book clubs are actually helpful. Maybe you want an example in media, the movies, what have you of an actually happy relationship.

[Nomi Frye]

I mean, who can tell really what you come up with? And we can't wait to find out. You've got questions, We've got answers. Hit us up. Send your voice memos as always to themaileyorker.com with the subject line critics. And now back to the episode.

[Alex Schwartz]

Now onto the Devil wears Prada 2, which fittingly opens with a lightly fictionalized Met Gala. It's an early scene where we first see Miranda Priestley in a very swooping red gown off the shoulder, walking into the American Museum of Natural History with Stanley Tucci as Nigel on her arm. But before we delve into the sequel, everyone listening has seen the Devil Wears Prada, I'm assuming. But if you haven't, it's okay. It came out in 2006. You can catch up. I rewatched it the other day, guys,

[Nomi Frye]

I also rewatched it.

[Alex Schwartz]

What a good Hollywood movie.

[Nomi Frye]

What a great movie. What a perfect confection. It's a snappy, well written, well acted. You follow Andy Sachs, the beleaguered assistant of Miranda Priestley. Who has to kind of find her way in the world. Through this apprenticeship, I guess, under this very, very difficult woman. But it also has kind of like the glamorous benefits of these sufferings are happening in a milieu that is easy on the eyes. It's just like a great, kind of like a perfect movie of its kind, I think.

[Alex Schwartz]

Well, 20 years later, the wait for Miranda Priestly to return is over. And the new film came out last Friday. All the major players are there. We got Anne, Annie Hathaway back. Meryl Streep back. Emily Blunt, who became a star from this movie, back. Stanley Tucci. And the director David Frankel and the writer Aline Broche McKenna are back. Also, there were a lot of repeats from the first. You are going through exactly the same dynamic. Andy has to again ingratiate herself. To the forbidding Miranda Priestly. Okay, so I am the new features editor at Runway. No, you're not. Are you serious?

[Vincent Cunningham]

Wow.

[Alex Schwartz]

Wonders never cease.

[Nomi Frye]

No, I'm actually a journalist now.

[Alex Schwartz]

I've been published in a. Doesn't matter. Anyway, we are all well aware that running that story was a mistake. And are taking immediate steps. I cannot actually get over this. It's really remarkable. A senior editor at Runway.

[Vincent Cunningham]

You.

[Alex Schwartz]

Yep.

[Movie Clip Voice]

We're all so thrilled.

[Vincent Cunningham]

Mm.

[Alex Schwartz]

You know what's funny is you've changed. You have. You're much more confident. Kept those eyebrows though, didn't you? In my position of ultimate power as host, I'm gonna tap Vincent Cunningham to give us a synopsis.

[Vincent Cunningham]

Thank you very much. Well, in devil wears Prada 2, we pick up with a sort of very different kind of Andy Sachs. She's a journalist at a gala about to accept an award. And bzzz, bz, bzz, bz, bzz. All around the table that she's sitting at. Phones are buzzing and chirping wildly. Because, as it happens. She and all of the colleagues with whom she came to this gala have been laid off. So we enter into this movie in a mood and an environment of precarity in the journalistic world. She's lost her job. So what does she have to do? Of course, by hook or crook. She's recommended to go back to Runway magazine. And once again work under Miranda Priestley. This time, as she's sort of forced upon Miranda by the owner of the company that also owns Runway, but has other magazines.

[Alex Schwartz]

Elias. Elias Clark.

[Vincent Cunningham]

As it turns out, that same feller dies at yet another gal. At yet another gala. 75th birthday, 75th birthday. He unfortunately croaks. All of a sudden, his son, played by, I thought a pretty funny BJ Novak, is in charge. And the Emily Blunt character. She has become betrothed to a billionaire who very much. He's very bezos. Like in his orientation. Emily Blunt and Andy come together to say. Maybe we should get perceived good billionaire to buy the magazine. So that the BJ Novak character. Who's sort of like, you know, obsessed with consultants and efficiencies. And wants to kill all the things that we like about the magazine. So that he can't do that, and this plan goes awry.

[Alex Schwartz]

Yeah, I would say the thing that is very notable about this movie is Nomi. As you were saying, the first one takes place when fashion, and certainly fashion magazines are at the apex of their power. And Miranda Priestley is in an unquestioned position of dominance and prominence. She is it to work for her, means to serve her. And that is just an unquestioned reality of the world. And a huge difference here, coming into Devil Wears Prada, too, is that she's vulnerable. There's a very memorable moment early in the movie. Where Stanley Tucci says. Miranda Priestly and Stanley Tucci, who plays her number two. Her conciliary Nigel. Are talking about how the whole business has changed since Andy was last at Runway. Now they still have what they call the Book. Which is the physical magazine. But it's shrunk down to a tiny portion of what it was. Their job is to make content online. And Stanley Tucci whispers. People scroll by as they pee. There's a sense that everything is vulnerable. And that a new world order has come in. The billionaires, who, it is implied strongly in the movie. Are totally tasteless. But want to buy their way into taste. Which, of course, is the dominant criticism that was made of the Bayes presence at the Met gala. So did you like the movie?

[Nomi Frye]

I didn't really. I mean, maybe I wanted to like it too much. Because of my experience with the beloved first movie. And there was no way to make the sequel without contending, you know, with how the world has changed. How the Internet has changed everything. How fashion and media are no longer what they were, et cetera, et cetera, all the things we know. But I just felt that it was like a very kind of odd and awkward balancing act. Between trying kind of admirably or at least honestly. To portray the way things are now. And how they're different from the way things used to be. It would be absolutely insane to make a movie about the Smollieu and argue otherwise. So that's great. But then to kind of have the movie be enjoyable and kind of tonally, in some ways, echo the first movie. I mean, this is not the Dardenne Brothers. Right. Like, it's not like a movie about collapse. Right. Or decline. Right. It can't be, because then it wouldn't be like a Devil Wears Prada sequel. So how do you mix these two tendencies? And I think it's a very hard thing to do. And perhaps even impossible.

[Alex Schwartz]

Vincent, what did you think?

[Vincent Cunningham]

I liked it a little bit more than Naomi seems to. Without totally having liked it. You know, I think I'm a little bit higher on the spectrum. I thought it kind of admirably did try to be about decline.

[Alex Schwartz]

Yeah.

[Nomi Frye]

Yeah.

[Vincent Cunningham]

In its best moments, it did sort of try to engage with a real environment of precarity. And I thought that was really interesting. But so much so, though, that I think it was a movie that was often more interested in its thematics than the execution of those thematics. So it was really trying to set things up, you know, at the beginning, it's like, boom, she loses the job.

[Alex Schwartz]

Boom.

[Vincent Cunningham]

Somebody gets. I mean, everything is happening so quickly in this movie. And I think it's because, to your point, Nomi, it's trying to do a lot. A lot of things at the same time. There's this useless boyfriend character.

[Nomi Frye]

Oh, my God.

[Vincent Cunningham]

Where it's like, oh, she meets a guy at a showing of an apartment. It's like, they only did that because they. They wanted some love interest stuff that maybe echoes the Adrian Grenier stuff from the first movie. Which I thought is way better than it was just a kind of useless person. And I think those minutes, those precious minutes. Came at the expense of more development of the relationship between Miranda and Andy, which. There's one good scene in the Hamptons where Miranda, in her stress about all of this. Whether she's gonna get this big promotion. Whether this series of corporate misfortunes mean that she'll kind of go out in the wash. Actually kind of opens up to Andy. And I think that there needed to be more of that in this film. I really wanted to see them, Streep and Hathaway. Really play against one another in ways that they really didn't get to do as much of. But again, I will say that I was kind of shocked at how this movie really did engage with political economy and the way we live now. I don't think I've seen a mass entertainment treatment of what's going on in culture industries. I just don't think I've seen it. Really. I was happy to see it.

[Alex Schwartz]

Yeah.

[Vincent Cunningham]

How about you?

[Nomi Frye]

What did you think?

[Alex Schwartz]

Okay, so I am here as the Devil Wears proditude apologist. I wouldn't say loved the film, but I'm close to loving it compared to you guys. I thought it was fun and I. I especially liked Andy's fashion in the film. I know the big look that everyone remembers from the first Devil Wears Prada is when Andy has had her glow up and her hair has been blow dried and she looks kind of like the way that a poodle, if it had had its whole, you know, hair sleekified and she's wearing those super high, thigh high Chanel boots. And frankly, I'm sorry, I know I'm on the wrong side here. Hideous little pageboy cap and that's.

[Nomi Frye]

You're not on the wrong side.

[Alex Schwartz]

I mean, that is just. No. That's a no for me. But I really liked Andy's fashion in this movie. The blazers, where are they from? Please share. I want to know the stripy dress that she wears to get on the jitney to the Hamptons. I loved seeing this movie in a theater. It was a communal experience in a way that I found satisfying. I was pleasantly surprised by how I felt that the magazine dynamics were depicted because without getting into detail the way that those anxieties are expressed in the movie, I did feel was very true to life for the way that they're felt. And I appreciate that it's a hard balance when you're trying to sell and enjoy a confection to also deal with these like, very real anxieties about the state of the business. And I liked the balance that the movie struck with those things. And you know, the film is making an argument again for where things are in the state of fashion. I think what people will probably remember most vividly from the first movie is the cerulean monologue where Andy chuckles at a session where Miranda Priestly is choosing between two what seemed to Andy to be identical belts.

[Movie Clip Voice]

What you don't know is that that sweater is not just blue, it's not turquoise, it's not lapis, it's actually cerulean. You're also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent, wasn't it, who showed cerulean military jackets. I think we need a jacket here. And then cerulean quickly showed up in the collections of eight different designers. And then it filtered down through the department stores and then trickled on down into some tragic casual corner where you no doubt fished it out of some clearance bin. However, that blue represents she gets a

[Alex Schwartz]

stern dressing down when she's told about basically how she is essentially the product of the fashion industry. And every choice she makes in her own life that she thinks she has independence on has in fact been decided for her in this very room where she now stands. And here the dynamic in the movie is. Is more about the shifting locus of power where that is no longer the case. So let's talk about power and fashion. A big point in this movie which echoes reality very closely is that Benji Barnes, the billionaire played by Justin Theroux, wants to essentially gain social acceptability for his, well, his girlfriend, played by Emily Blunt, Emily Charlton. There is this idea that if they can only appear as the owners of Runway, they will have ascended to the very white hot center of the culture and have gained something that money alone cannot buy them, which is cultural prominence. I will just say I thought that the Justin Theroux character was one big mistake of the movie because these people are very powerful and very dangerous and very intelligent. And Jeff Bezos himself, smiling with his unwrinkled forehead backstage at the Met Gala because he declined wisely to walk the carpet, sent shivers down my spine. Vinson, can we go back a little bit to the reality and the fantasy mixing element of the way that this movie depicts something that just happened in reality. What do you make of the presence of Lauren Sanchez Bezos at the Met Gala?

[Vincent Cunningham]

Well, here's the thing about the presence of the Bezos clan is that it's a strange and sad paradox because what do we want from rich people to do stuff like this instead of build products that threaten to vaporize the attention literacy agency of a whole generation, et cetera, et cetera, the other things that these people do preclude us from appreciating when they do things that they, you know, when we think of the benign gestures of the rich, like their tendencies toward philanthropy and stewardship of various sectors of the arts. I didn't really pay too much attention to Lauren Sanchez Bezos one way or the other. But what it was, though, was it seemed to me her presence was more of a symbol of things, which is that our world these days. And I think this is part of the message of the sort of tectonics of Devil Rose Prada, too, is that you have to be hoping for the good billionaire to come along. You have to be that there is some level of surrender to plutocracy that says, we just hope that they decide to pay attention to the right things instead of the wrong things.

[Alex Schwartz]

I certainly think this year is gonna be remembered. No one's gonna remember the theme of the gala this year. It's almost a non theme. No one's gonna remember that. Everyone's gonna remember this as the year that the billionaires bought their way into the Met gala and got in bed with it. And for better or for worse, that is what this year represents. And I just find the look fascinating. The Lauren Sanchez Bezos look fascinating. The dress itself, it really could have been out of the Devil Wears Prada, too. It's not a good dress, guys. She didn't look good in it. She looked like she had been physically immobilized and had to kind of, like, hop, hop, hop because things were so tight. She did her, like, usual very cleavage forward look. And so I think we find ourselves in a position. I'm almost like, did she do it so that that people would be entertained by tearing her apart? And that was like a little bit of bread thrown to us on the ground. And we can all feel really good about saying she looked bad. She looked bad.

[Nomi Frye]

No, I think she looks good, and I don't think she cares what we think.

[Alex Schwartz]

Yeah, I think that's probably right. I mean, one of the things that was cracking me up was an online discourse saying that Law Roach, the stylist who dressed her, was, quote unquote, part of the resistance because of the styling failures. Part of the resistance.

[Nomi Frye]

Law Roach. Welcome to the resistance.

[Alex Schwartz]

Fashion is political, yes, but of course, it's also deeply personal. In a minute, we're talking personal style. This is critics at large from the New Yorker. We are in uncharted territory. Staff writer Evan Osnos on the New Yorker Radio Hour. I think all of us right now are trying to make sense of an avalanche of news every day. And there aren't very many places where you can go and understand how something looks in the grand scope of history and context. That's what I come to the New Yorker for. I'm David Remnick, and each week, my colleagues and I try to make sense of what's happening in this chaotic world. And I hope you'll join us for

[Vincent Cunningham]

the New Yorker Radio Hour.

[Alex Schwartz]

All right. I'm opening with a story. Here we go. Get ready, guys.

[Vincent Cunningham]

Let's do it. Let's do it.

[Alex Schwartz]

Gather round.

[Vincent Cunningham]

Boom.

[Alex Schwartz]

I'd like to give you a little bit of a childhood fashion history. Like, if there was an. If this was a session and we were like, you were my therapists. This is the intake. Okay. I was not allowed to wear pants for a long time. That's my accounting of it. I was dressed like a little French girl in my mother's imagination. Well, I'm just saying, little skirts, little leggings, maybe things. I remember being devastated in the first grade before Picture Day, when I was given what I was supposed to wear and it looked like it was on backwards to me. It was a little jumper thing with an X in the front. And yes, I recognize now I probably looked chic, but. But I was being told how to look as kids are and did not like it. So a huge revolution happened when the blue jean came my way. And I realized this too, could be mine. Bell bottoms were very big. It was the 90s. There was a big 60s re envisioning happening. So I would say I came into my own sense of personal style around the age of eight, wearing big bell bottoms. And one day. One day, thanks to the Delia's catalog and a trip to Bloomingdale's, I walked into Hebrew school on Shabbat. Cause we had to go there on Saturdays in our fancy clothes wearing a full salt and pepper black and white. It looked like a checkerboard black and white. Little skirt, black and white, little top, just 100% polyester. And these huge platform shoes.

[Vincent Cunningham]

Oh.

[Alex Schwartz]

And a boy looked at me and said, is it Halloween?

[Nomi Frye]

Oh, God.

[Alex Schwartz]

And you know what? It wasn't Halloween. But I was feeling it. And that is my memory of what can happen if you just try to express yourself through clothes. You gotta own it, guys.

[Nomi Frye]

Okay, so what happened after? Like, what happened? Like, did you. Were you shamed into conformity?

[Alex Schwartz]

Well, I became a feminist. And wow. And I said, I do not care. No, I was not shamed into conformity. I think what makes. I'd love to hear about your own personal relationships to dressing. You know, I've had phases. My freshman year of college, I didn't again, wear a pair of pants. But that was by my own choice. I was doing skirts all the time. Long skirts, boots with bells on them. Some hippie shit was going on. Who knows? And now I can't imagine that because I want nothing more than to look kind of as unrumpled as I can in A nice blue jean and a white tee. What's interesting about fashion is it does remind you, and I guess this goes back to the Met Gala theme. Every day you must confront again the fact that we are embodied, that we gotta deal with that. And there are days when it feels like a big, wonderful celebration and I'm flaunting my stuff and feeling great. And there are, of course, many days where I just feel like a sack of potatoes in my little mesh bag trying to just jangle along until someone can get me home from the market.

[Nomi Frye]

Yeah, yeah, yeah.

[Alex Schwartz]

How do you relate to this, my friend?

[Nomi Frye]

Well, I really. I really relate to that, Alex. Surprise, surprise. I really relate to that. I think I have a very hard time being embodied and which, as a woman, I've always felt was a failing because I kind of never slipped into conventional femininity in any easy way, you know, but the kind of. I think I've come to realize over the years that, I mean, my husband Hara, always says you really like to dress conceptually. And by this he means not like, kind of in any kind of like, interesting Japanese designer way, but more in the sense of, like, dressing as an idea rather than, you know, like, oh, this button down shirt reminds me of a shirt that, like, Robert Smith of the Cure wore and like, some video in 1982. And I. When I was, like, 12, I always loved that and this. You know what I mean? So it's not necessarily what's, like, flattering to me or what would look like especially good on my body, which has to do with kind of like the difficulty of embodying this, but more of kind of like an idea, kind of a cultural idea. And I've at least tried to relax into that way of dressing in recent years and kind of accept that that's what it is. I love that, if that makes sense.

[Vincent Cunningham]

Yeah.

[Nomi Frye]

And it's really important to me, even though, like, if someone were. If people who see me probably are like, you know, I don't, like, strike a pose, you know what I'm saying? I'm not one of those people where you would be like, oh, she really cares about fashion. Look at these special shoes she's wearing. You know what I mean? But I do really care about fashion, actually. But in a way that's interesting for me on the level of culture and memory, I guess.

[Alex Schwartz]

Yeah. Vincent, I know you care, too. And you've talked many times about the influence that Ralph Lauren had on you when you were a kid and kind of coming into your own sense of style. Where does Your sense of style come from?

[Vincent Cunningham]

Yeah, I think it. I'm relating to many things that everybody's saying, but especially when I think about Ralph, and I think about another of the great heroes of my youth, Dapper Dan, the great sort of cultural remixer and fashion designer from Harlem, who I used to see walking around when I was a kid in Harlem. And I would also see people wearing his designs. For me, style is always. Is, like, about two things. Nomi mentioned memory, and then I would also just add the street to that. Just seeing this is one of the reasons I don't think I could ever successfully live away from New York for a really long amount of time. Just something about just sort of ideating outfits. And I see little things on other people or the experience that you have when you walk on the street in every storefront window is a little bit like a mirror. There's a weird kind of self absorption, at least visually that happens. You look over at this and you see yourself a little bit, and you're like, oh, these jeans don't look the way that I thought they did. Something about just sort of the spectacle of other people, but then also kind of the many different mirrors that the city gives you to see yourself. But what you said, Naomi, about culture, dressing, for me is also really about personal memory. It's like, for many years, I dressed only in black. And it was like. And I would think about it. It's like. It's about the way that I like how priests dress. Like, I just think it looks cool. It's about the way that I love living in Brooklyn. I think that Hasidic Jews are the most stylish people in the world. There's always a woman who's like 35 years old who's wearing a very shiny bubble jacket and a flowy black dress and flats that look like Tory Burch and just a perfect wig. And I'm like, this lady is so stylish, man, she's killing it. I just think there's just so many different ways of dressing in black that I admire. And I'm like. I'm thinking about these things. I'm thinking about being a kid in the choir and Youth Sunday was always black and white. I'm wearing black and white. I think about that every time I wear black and white. So I'm just like, the way you kind of impressions stick to you.

[Nomi Frye]

Yeah. You metabolize all the stuff in movies.

[Vincent Cunningham]

Yeah. I'm still, for instance, thinking about that show, the Studio, which I really liked. Seth Rogen looks great. In a double breasted jacket. And he's wearing them all through that and I'm still wondering, okay, how am I gonna. Would I look okay in a double breasted jacket? Just like, you see things and they just stick to you and you work your way to them. But what both of you guys said also matters to me a lot, which is like, it's so much about gender, you know, And I do think that dressing is a way to try to achieve gender euphoria. In a weird way, it's like, what kind of man am I? And so it's all these ideas that are like implanted from childhood. One of my friends shout out to you Lovia. One day I was wearing all linen and these leather sandals. And she was like, you look like an old African uncle. And I was like, thank you so much. Because that is like, there's a black American uncle who's just like that uncle, who I'm referencing with this shit. You know, it's just about loose things that have been rattling around in your mind forever. And if you can like realize ideas about yourself and about the world through the way that you dress, I think that's cool.

[Alex Schwartz]

Yeah, I love what you're saying, Vincent. And you know, there are so many ways to try to embody yourself as most purely and as a pure expression of who you are. But who you are can change, and it can change from day to day. What you say about gender euphor is true. You know, we're all talking about this as cisgender people, but it doesn't mean that we can't, you know, push whatever that means for us. Like, I tend to have. I tend to be most comfortable dressing in what I consider to be a sort of boyish way. But that said, it's then really fun to go in a totally different direction. The first time my son saw me in a dress, he was flabbergasted. Like he couldn't understand what was happening. And he was really excited. And he said, that's beautiful. And. And it was so interesting to me that that just struck him. Then he wanted a dress. We got him a dress. He loves wearing his dress every so often and getting fancy. And I love that we live at a time when those things are just fun and they can mean something or they don't have to mean something. It's just. It's interesting to see a little person figuring out who he is, someone who doesn't. I mean, he does not care 99% of the time what is on his body as long as it feels comfortable. But then he'll have a really strong, striking notion, you know, that's how we know we're alive, that we can play with ourselves in these ways. That's what it's all about. I think when you get away from the status and the money and the cost and the. It's about celebrating being alive.

[Vincent Cunningham]

Yeah. How much does the ambient fashion industry and its workings, I don't know, infect your way of dressing? Do you feel that you're making all of your decisions? I had this really alienating thing happen to me as an anecdote, maybe as a way of asking the question. I got these glasses, thin rimmed gold glasses of the kind that really hadn't been in style since I was in second grade. I'm pretty sure these are very much like the glasses, the first pair of glasses I ever got in second grade. But then I saw something on GQ that was like this kind of glasses, you know, men wearing slutty little glasses. I think is the way they did it. Not that it was something like that. And they're like, they're back in and, you know, it's like, whatever. I got them a year before this thing came out. Blah, blah, blah, blah, blah. But it just made me question whether I was a fashion victim instead of the captain of my fate. You know what I mean? Does that happen to you or do you. Are you. Is there any anxiety of influence for you in terms of your clothes in the fashion industry?

[Alex Schwartz]

Yeah, I know totally what you mean. And, Vincent, you were talking before about noticing things on the street. Well, things on the street are filtering down to us from somewhere else from the industry. It's just like the cerulean monologue that Miranda Priestly gives. And so you start noticing, ooh, I want something like that. I want to do a little more like, you know, kind of a chunky sneaker or. I remember deeply coveting a perfectly round sunglass. It looks hideous on my face. And you think, oh, no one's done that since John Lennon. And then suddenly everyone has done it. But you know what? I'm actually happy with that now. There are maybe more opportunities, if more things are being made and sold in that vein, to experiment with it, to try it out so that I feel okay with.

[Nomi Frye]

Yeah, I feel okay with it, too. Like, there's no way in anything that I do that I'm the captain of my ship. Like, there's just no way. Even if I feel. And of course, often I feel like I am the captain of my ship, but I know that there are so many forces working on us that it just, it simply can't be. It can't be. You know, it might be a choice other people are making and other people have contributed to making for me, but I also have my own entire world of associations that are linked to that choice in a complimentary way. So I think that's fine.

[Vincent Cunningham]

That is a really mature way of thinking about it.

[Nomi Frye]

I mean, who knows?

[Vincent Cunningham]

But I really, I have much more attachment to be on my own shit than you. I'm like, no, I made it up. You know, I made this up. This look is mine.

[Nomi Frye]

No, I used to be that way, but I feel. But it is. I think you are the only you, Vincent. Ultimately, so true. Even if the choices you make and all of us are, even if the choices we made are, you know, influenced in many ways by forces outside of us, the way we combine these choices are still singular. I think.

[Alex Schwartz]

This has been critics at large. Alex Barish is our consulting editor and Rhiannon Corby is our senior producer. Our executive producer is Steven Valentino. Alexis Quadrato composed our theme music and we had engineering help today from James Yost with mixing by Mike Kutchman. And as always, you can find each and every one of our [e-mail] Critics.

[Nicole Phelps]

Hi, I'm Nicole Phelps, the global fashion news and features director and co host of Vogue's podcast the Run Through. Each week on the show, our listeners get an all access pass to the world of Vogue with the latest fashion news and the most exciting voices in the industry. On Tuesdays, join me to hear interviews with influential leaders in the industry like Calvin Klein, Daniel Roseberry and Jonathan Anderson. On Thursdays, join Head of Editorial content at Vogue, Chloe Mao and head of Editorial content at British Vogue Choma Nadi as they explore style and culture through the lens of fashion with guests like Martha Stewart, Kamala Harris and Tracee Ellis Ross. The Run through with Vogue New Episodes episodes every Tuesday and Thursday. Wherever you get your podcasts.

[Nomi Frye]

From prx.