242: On the Life of a Showgirl, Paris Fashion Week

Summary

Every Outfit – Episode 242: On the Life of a Showgirl, Paris Fashion Week

Date: October 10, 2025
Hosts: Chelsea Fairless & Lauren Garrone

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Episode Overview

In this lively and unfiltered episode, Chelsea and Lauren dive deeply into the cultural and sartorial events dominating their obsessions: Taylor Swift’s latest album Life of a Showgirl and the whirlwind that was Paris Fashion Week. The hosts dissect Taylor’s creative choices, memes, millennial cringe, and the response from fans and critics, before switching gears to offer their signature sharp, insightful fashion commentary on a landmark season of Paris’s biggest runways. With notable quotes, spicy hot takes, and their usual blend of highbrow and hilarious, the duo navigates everything from designer debuts to questionable merch strategy — and of course, the life of a modern showgirl.

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Baptisms & Taylor Swift: Personal Anecdotes and Pop Dissection

Baptism, Catholic Guilt, and Dressing the Part

• [01:18–03:13]
  Lauren recounts her baby’s baptism, her conflicted relationship with the Catholic Church, and the elaborate linen outfits sourced from Florence.
  • “I have very conflicted feelings about the Catholic Church. Understandably so.” – Lauren [01:39]
  • Chelsea played along: “I wore a very large cross too. Cause I was just trying to support your culture even though you don’t actually go to church.” – Chelsea [02:57]

The Life of a Showgirl: Deep Dive Into Taylor Swift’s Latest Album

First Impressions and Reception

• [03:13–07:01]
  The hosts, especially Chelsea, are disappointed, noting the album lacks a strong pop single and fails to justify Taylor’s massive fame.
  • “Look, I think we can all agree that it is not her best work, okay?... I’ve lived with this record for a week and it’s not really holding my attention.” – Chelsea [03:56]
  • Lauren, as an “outsider but ally,” gauges that Swifties are unmoved, reflected by the lack of fandom drama.
  • Both notice the prevalence of “Internet speak” and millennial cringe in the lyrics.

Lyrical Content and Public Perception

• [05:50–07:37]
  “WOOD,” Taylor’s sexual ode to Travis Kelce, is dissected for its euphemisms and pop culture references.
  • “The song Would is my favorite song on the album, actually, even though it is about Travis’s redwood tree cock.” – Chelsea [05:51]
  • Lauren: “That song is like an intrusive thought come to life because now all I’m thinking about is Taylor Swift and Travis Kelce having sex.” [06:00]
  • Lauren calls out “millennial cringe”; Chelsea notes, “It’s Internet speak, really... keep it 100 in the lead single.” [06:22]

Fan Theories, Diss Tracks, and Homoerotic Tension

• [07:37–11:52]
  • The pair unpacks speculations about diss tracks (allegedly targeting Charli XCX), Swift’s response to conspiracies about her sexuality, and references to drugs (“coke”).
    • “She says it kind of makes me wet in the song because this whole song is about like, wow, you’re so obsessed with me.” – Chelsea [07:59]
  • Notable tweet: “Referring to yourself as an English teacher and tortured poet, yet not having the reading comprehension skills to understand the subtext and nuance of Sympathy Is a Knife.” – Read by Lauren [08:55]
  • Lauren: “It’s very Tumblr behavior.” [11:16]

Pop Stardom, Capitalism, and Merch Fatigue

• [22:05–24:36]
  The discussion broadens into Taylor’s merchandising overdrive, multiple album variants, and parallels with other pop icons.
  • “I showed you a graphic that said, in the two days this album has come out, there’s been 28 variants of this album. And... you said, it is.” – Lauren [22:29]
  • Chelsea: “At least she’s not selling us perfumes and makeup and fake Samsonite luggage.” [23:12]
  • Lauren: “Don’t put out 28 variants of an album. Let people breathe.” [24:04]

Final Swiftie Thoughts

• Both hosts agree even the most dedicated fans seem tired, suggesting the overexposure of both Taylor and her product.
• “She has released over 200 songs since the pandemic, so that is a huge amount of music.” – Chelsea [24:36]

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Paris Fashion Week: A Landmark Season

Access Issues and Vogue Runway Paywall

• [27:34–29:12]
  The hosts discuss the recent paywalling of Vogue Runway, its inevitability, and nostalgic tales of early fashion internet access.
  • “We can’t have it both ways.” – Chelsea [27:38]

Major House Debuts & Runway Reviews

Chanel: Michieu Blasi’s Debut

• [29:12–31:49]
  • Chelsea finds the new direction refreshingly wearable and believes the collection “could’ve been designed by a woman—which is the highest compliment.”
  • “I aspire to own those Charvet tuxedo shirts specifically from this collection.” – Chelsea [30:44]

Dior: Jonathan Anderson’s Approach

• [31:49–36:24]
  • Anderson infuses Dior with new life, mining the house archives (especially Galliano’s era) and presenting strong separates.
  • “He put denim miniskirts back on the Runway.” – Chelsea [32:10]
  • Notable front row: Johnny Depp, but more importantly, Justin Vivian Bond (“the exact sort of person with the right kind of mid century glamour that should be representing Dior.” – Chelsea [34:28])
  • Both predict success for the new accessories, especially the “D-shaped heels” and “loafer clog.” [36:24]

Glenn Martens at Margiela

• [38:35–41:28]
  • The collection returns to Martin Margiela’s roots: “...closer to Margiela’s work in the 90s, which is still huge on the resale market.” – Chelsea [39:01]
  • Extreme mouth jewelry becomes a talking point.
  • “It was terrifying. I thought it was cool, but... every single look lost its impact by the 50th look.” – Chelsea [40:55]
  • Child orchestra in Margiela suits, referencing Margiela’s original school show [41:51].

Pierpaolo Piccioli for Balenciaga

• [43:16–45:47]
  • Initial excitement over archival references, but reservations about the ready-to-wear detours into Valentino aesthetics.
  • Both lament the lack of innovation in accessories: “His iteration of the city bag was just doing it in suede, which I saw someone call it the suburb bag.” – Lauren [44:53]

Proenza Schouler at Louis Vuitton

• [47:25–49:49]
  • Lauren: “It comes across that these two people up and left their own label to be like, yes, give me LVMH money...and play.”
  • High praise for their rubber kitten heel boots with interchangeable socks and mollusk-inspired handbags.

Other Major Debuts and Reboots

• Mugler, Celine, Jean Paul Gaultier, Dries Van Noten
  • Mugler: “I think the tailoring was good...I was instantly repulsed by the beige, like, the neutral color palette.” – Chelsea [50:26]
  • Celine: Michael Writer “identifies the best of both Phoebe Philo and Hedi Slimane’s Celine—smart and marketable.” [51:39]
  • Jean Paul Gaultier: Duran Lantink’s collection is widely derided, sparking criticism for misogyny and missing the Gaultier DNA.
    • “This was horrible. My instant reaction was horror.” – Chelsea [53:25]
  • Dries Van Noten: Julian Klosner is received warmly, “the caftans in particular were divine.” – Chelsea [58:01]
  • Tom Ford: Heider Ackermann’s debut stuns, capturing old-school Tom Ford/Gucci “nastiness” and sex appeal: “This is clothing for a bitch with taste.” – Chelsea [59:50]

More Standouts

• Alaïa, Saint Laurent, Chloé, Valentino, Miu Miu, Gabriela Hearst, Vivienne Westwood
  • Strong individual elements discussed (e.g., Alaïa cocoon jumpsuits, Anthony Vaccarello’s consistency at Saint Laurent, 80s-floral Chloé, Alessandro Michele’s pulled-back Valentino, apron-mania at Miu Miu).
  • Surprise runway cameos: Laura Dern at Gabriela Hearst [77:17], Heidi Klum closing Vivienne Westwood as a bride [75:22].

Emerging Brands & Young Designers’ Recognitions

• [72:45–74:47]
  • Shout outs to: Abra, Hodakova, Vacara, August Baron for pushing new directions and “filling a Carrie Bradshaw-shaped hole.”

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Memorable Quotes

• “If Taylor wrote these lyrics, that’s bad. If ChatGPT wrote these lyrics, that’s really bad. But if Travis wrote these lyrics, I’m kind of proud of him.” – Lauren [19:07]
• “You can put things down the Runway just for shits and giggles, just to do something extreme. But at the end of the day, almost nothing in this [Gaultier] collection was wearable.” – Chelsea [56:36]
• “This is clothing for a bitch with taste.” – Chelsea, on Tom Ford [59:50]
• “The future is apron.” – Lauren, on Miu Miu [69:11]
• “There’s always the potential for a brand to go from being tragic and stale to being the hottest brand in fashion, the most critically acclaimed, the most commercially accessible. It’s always possible.” – Chelsea [61:20]

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Timestamps for Key Segments

• Taylor Swift Album Discussion – [03:13–26:09]
• Vogue Runway Paywall & Early Fashion Internet – [27:34–29:12]
• Chanel, Dior, Margiela, Balenciaga Reviews – [29:12–45:47]
• Louis Vuitton, Mugler, Celine, Gaultier, Dries Van Noten, Tom Ford – [47:25–61:20]
• Saint Laurent, Chloé, Valentino, Miu Miu, Emerging Designers, Celebrity Runway Moments – [62:07–77:56]
• Episode close & next week’s tease – [77:56–end]

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Final Thoughts

Chelsea and Lauren’s signature style—equal parts insider knowledge, pop culture wit, and acid-tongued honesty—make this episode a dense compendium of fashion and pop culture takeaway. Their critique of Taylor Swift’s lyrical choices, skepticism toward pop capitalist tendencies, and readiness to call both high and low fashion as they see it provide a whirlwind, unfiltered snapshot of the state of style in Fall 2025. If you crave smart cultural critique, fashion gossip, or just a wicked sense of humor, this episode delivers.

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For further exploration:

• Follow @everyoutfit for visuals and referenced looks
• Check show notes for links to emerging designers and collections discussed
• Next episode: One Battle After Another & the Victoria Beckham documentary – mark your calendars!

Transcript

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[Lauren Garrone]

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[Lauren Garrone]

I spent $40,000 on shoes. What's the matter, Morty?

[Chelsea Fairless]

Great gowns, beautiful gowns. Fashion has changed. It hasn't.

[Lauren Garrone]

Hi, I'm Lauren Garrone.

[Chelsea Fairless]

And I'm Chelsea Fairless.

[Lauren Garrone]

And welcome back to the Every Outfit podcast.

[Sponsor Voice (Nutrafol/Cash App)]

Chelsea, I just wanted to thank you.

[Lauren Garrone]

For coming to Morty's baptism over the weekend.

[Chelsea Fairless]

The spirit of Christ is within me. What can I say? I've never been to a baptism before, but that part where you had to renounce Satan was totally wild.

[Lauren Garrone]

It did make me feel slightly uncomfortable. I feel like I. I feel like I should explain. I have very conflicted feelings about the Catholic Church. Understandably so.

[Chelsea Fairless]

However, not conflicted enough for you not to have very large cross necklaces.

[Lauren Garrone]

Look, I dressed the part. I also dressed the baby the part.

[Sponsor Voice (Nutrafol/Cash App)]

Really?

[Lauren Garrone]

What tipped the scales for us actually baptizing the child? Other than my mother being like, well, how else is the child gonna know right from wrong?

[Chelsea Fairless]

Seriously, Kathy, come on.

[Lauren Garrone]

After our tour stop in London, Paul and I honeymooned in Florence, Italy. And there is a very old school linen shop called taf or taf, I don't know how it's pronounced. Surprisingly so. I don't know how to pronounce it, but it has the most exquisite linen outfits. And it had this, as you saw, ornate linen baptism outfit. And I said, well, I mean, the.

[Chelsea Fairless]

Dress up to the ante.

[Lauren Garrone]

It did indeed. There was a second outfit you didn't get to see. But we baptized the child. Yes. I had to renounce on behalf of the child that he would not live a satanic lifestyle, which I don't know.

[Chelsea Fairless]

Under your roof.

[Lauren Garrone]

I don't know about that, but it was very cute. And I wore a very large cross, which was my Grandmother's.

[Chelsea Fairless]

I wore a very large cross too. Cause I was just trying to support your culture even though you don't actually go to church. I just knew Tat would have one like downstairs in her studio cause she has a lot of jewelry. So I was like, you know what? When in Rome, we when in Sherman Oaks.

[Lauren Garrone]

Actually when in a fabulous mid century church in Sherman Oaks. And then we celebrated by going to Casa Vega. You know what? It really did feel like Carrie's elopement to Big. You know, we had a little. A little church action, then we went to Casa Vega. Kind of feels like them getting married at the courthouse and going to Denny's or wherever they ended up going to. We'll never know enough about our personal lives. We got to get into the Taylor Swift record Chelsea. The amount of people in my life who texted me over the week and then we're like, what does Chelsea think of this album? I'm like, guys, I don't know. Because one of the downsides of having this podcast is these are the type of conversations we can't have as friends anymore because we gotta save it for the pod.

[Chelsea Fairless]

Look, I think we can all agree that it is not her best work, okay? There are a handful of songs that I enjoy on this record, but I've lived with this record for a week and it's not really holding my attention. I like, I made a playlist that's seven hours of Lilith Fair music. And that has been winning out more often than not.

[Lauren Garrone]

I was going to say as a Swiftie outsider, but a Swiftie Ally, it doesn't seem like her fans really fuck with this album. And I really know that because they haven't even doxxed and gone after the people talking shit about this album.

[Chelsea Fairless]

Yeah, well, we all know that she can do better. Like, I can't believe that the same person that wrote Dear John also wrote the song canceled on this alb.

[Lauren Garrone]

Now look, even I can tell that this is not her strongest work. But Chelsea, you have to understand that to a swifty outsider, this is kind of just what her music sounds like to us.

[Chelsea Fairless]

Wrong. That is a very ungenerous read, I would say. But it sucks because she has never been more famous and overexposed, of course. And it sucks that her music isn't continuing to justify her fame level. Although of course the ERAs tour did. The ERAs tour was one of the best things she's ever done.

[Lauren Garrone]

Here's the thing. This was the album that you had to fly from. The European date of the Eras tour. To Sweden to work with Max Martin, which. This doesn't feel like an album produced by Max Martin, does it?

[Chelsea Fairless]

No. And this album, while there are songs that I like, it doesn't really have a big pop single. And that started happening with Folklore, which was a good album. Midnights had singles that I think were great. I think Anti Hero was great. Karma is a great pop single. This album doesn't have anything on that level. I don't think as much as she.

[Lauren Garrone]

Tries with the song Would.

[Chelsea Fairless]

See, I love the song Wood. The song Would is my favorite song on the album, actually, even though it is about Travis's redwood tree cock.

[Lauren Garrone]

But see, this is the issue is that song is like an intrusive thought come to life because now all I'm thinking about is Taylor Swift and Travis Kelce having sex. So I think the issue that a lot of people have, fan or non fan, is many of these lyrics are peppered with what I'll call millennial cringe.

[Chelsea Fairless]

Well, it's Internet speak, really. Whether she's saying keep it 100 in the lead single, which is the fate of Ophelia, this also drives me crazy because the fate of Ophelia sounds way too similar to the life of a showgirl. So I'm always like, the fate of a showgirl, the life of Ophelia. And certainly the song Eldest Daughter has the most Internet speak in it.

[Lauren Garrone]

I want to go back to Wood for a second, because you're right, it is just full of Internet speak. Because she censors herself. Because instead of saying dickmatized, she says, hematized me.

[Chelsea Fairless]

Well, to be fair, this song is all about euphemisms, and dickmatized is just too on the nose. Like, she's using terms like wood, hard rock, redwood tree to describe this man's dick.

[Lauren Garrone]

Well, she's also invoking his podcast New Heights, which if you look at the lyrics, New Heights is capitalized like the podcast itself. But she's saying new heights. New heights of manhood.

[Chelsea Fairless]

Yeah, she's never been dicked down like that before.

[Lauren Garrone]

Are you happy, Gaylors? Do you see what years of relentless conspiracy theories has made this woman do it? Made her write this song.

[Chelsea Fairless]

Okay, but also on this album, we get her most overtly homoerotic song, which is actually romantic. It's also her second most homophobic song after Picture to Burn, the original version.

[Lauren Garrone]

So this is widely thought to be a diss track against Charli xcx. Are you saying that really she wants to sleep with Charli xcx?

[Chelsea Fairless]

Well, she says it kind of makes me wet in the song because this whole song is about like, wow, you're so obsessed with me. It must mean that you're a lesbian and you want to fuck me and you're in love with me and you can't stop talking about me and you know all of that. If we're looking at this song as a response to Sympathy for a Knife, I do think it is a misread of that song and its intentions. However, Taylor and Charlie actually know each other. They've known each other for a long time. And you know when someone doesn't fuck with you, I bet she did call her boring Barbie. I bet she got a hit backstage at One of these 1975 shows that Charlie does not fuck with her. So I think when you put that song within a larger pattern of behavior, I can understand why she may respond with a diss track as juvenile as it feels to everyone.

[Lauren Garrone]

May I read you a tweet that I found about this that made me laugh. I'd love to know your opinion about it.

[Chelsea Fairless]

Sure.

[Lauren Garrone]

From referring to yourself as an English teacher and tortured poet, yet not having the reading comprehension skills to understand the subtext and nuance of Sympathy Is a Knife.

[Chelsea Fairless]

Right Again, they have a relationship that goes beyond that song.

[Lauren Garrone]

What I wanted to say about this album is, sonically, musically, it's really good. I mean, I'm enjoying it, even though it is not expressly a pop album or really. I don't know any songs that feel like they relate to the artwork of Life of a Showgirl, but whatever.

[Chelsea Fairless]

No, absolutely nothing feels showgirly. I kind of expected this album, based on the artwork, to be in the shake it off, bejeweled mode, which feels like it gives Showgirl. None of this gives Showgirl. But when I first heard the guitar on Actually Romantic, I was like, oh, this reminds me of Weezer.

[Sponsor Voice (The RealReal)]

Oh, really?

[Lauren Garrone]

Because it reminded me of Pixie's Where Is My Mind?

[Chelsea Fairless]

Well, it reminds a lot of people of Olivia Rodrigo in the overall sound of it.

[Lauren Garrone]

Again, I go back to did you need to put this album out? And it feels like the answer is no.

[Chelsea Fairless]

No, she definitely didn't need to put this album out, but she's doubled down.

[Lauren Garrone]

I believe it was on either Jimmy Fallon or Seth Meyers, where she was like, oh, no, this is my favorite album I've ever done, which feels like Cope.

[Chelsea Fairless]

I don't believe that. Also, another thing I want to bring up with Actually Romantic, she is obviously referencing Charli XCX's Coke use, which is Such narc behavior. And she also did this on Tortured Poets on one of the songs.

[Lauren Garrone]

Oh well, I mean she is teacher's pet. She is the actually you didn't assign us homework students.

[Chelsea Fairless]

But I also don't believe that she's never done a bump in her life. And also I think the fact that she said coke instead of bump or line or some euphemism for cocaine is another reason why it feels a little high school little kid. But then again they say, you know, like with alcoholics and drug addicts that you get frozen at the age that you become famous. And Taylor Swift's first album came out when she was 16, so maybe that is why as a 35 year old woman she is writing songs about prom. She's romanticizing literary figures like Ophelia in the same way that I did when I was a 16 year old girl.

[Lauren Garrone]

It's very Tumblr behavior. I'm sure you've seen people post. You know, Beyonce at 34 made lemonade. Taylor Swift at 35 made Life of a showgirl.

[Chelsea Fairless]

The craziest one was Madonna had recorded erotica by this age.

[Lauren Garrone]

The other thing about actually Romantic is those lyrics leaked before the album came out and I had assumed that was maybe the chorus of the song. For those who have not listened to it, it's the first two sentences of the song you want to talk about narc behavior. She couldn't even wait to the chorus to be like, look at this fucking cokehead.

[Chelsea Fairless]

I know.

[Lauren Garrone]

And by the way, someone calling you boring Barbie and then upping the ante by being like, well, you're a fucking cokehead. Like not equal insults.

[Chelsea Fairless]

No.

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[Lauren Garrone]

Do you want to talk about the song that has ruined Musso and Frank's for us?

[Chelsea Fairless]

Elizabeth Taylor? Okay, I kind of fuck with Elizabeth Taylor.

[Lauren Garrone]

Is Taylor Swift aware that Elizabeth Taylor was married seven times?

[Chelsea Fairless]

It's funny because Taylor Swift romant emphasizes different aspects of Elizabeth Taylor than I do. Yes, the oldest restaurant in Hollywood, Musso and Frank was name dropped on this record, as was the Plaza Atene where Carrie Bradshaw famously stayed. There are a lot of Lana Del Rey isms in this song.

[Lauren Garrone]

Yeah, but this song also highlights the real issue I have with Taylor and her songwriting, which is when she chooses this narrative that everyone is against her. She has this lyric where it's like something, something New York when Hollywood hates me. Hollywood doesn't hate you. You have the highest grossing tour. You're about to make a movie. Did we forget this?

[Chelsea Fairless]

No, I know. This also comes up in this song Wish List, which is a song on this record that I really like, which is kind of about other people in the industry. It's kind of like, well these people want critical acclaim. They want success. They want to be flashy. I don't want any of that. I just want Travis in his redwood tree, cock in a basketball hoop. But it' if that was true, then you wouldn't be releasing 28 variants of this album. If that was true, you wouldn't be directing a movie and you would care about stuff like if it got the Palme d', or, which is another reference in this song.

[Lauren Garrone]

I think this segues perfectly into the song Canceled, which people feel is about.

[Chelsea Fairless]

Her friendship with Patrick Mahomes wife and Blake Lively potentially.

[Lauren Garrone]

Oh interesting because there's a lyric referencing Gucci and it's like, but Gucci's never been canceled. It was Balenciaga that's been canceled. So I looked up Patrick Mahomes wife Gucci to be like does she wear a lot of Gucci?

[Chelsea Fairless]

And the answer is yes, Blake Lively does as well. I think this song actually negatively affected Gucci. Like, I think it went down on the list index as a result of being name dropped in the song canceled. When I first heard this song, all I could picture is Kai Trump and her friends, like, singing along to it. Like, it is a song for young blonde maga y chicks to, like, turn up to.

[Lauren Garrone]

I don't know what her intention for the song was, but it does feel like it's gonna have the opposite effect she intended.

[Chelsea Fairless]

Well, it's weird because I also don't really think it fully aligns with Taylor's politics. You know, she actually doesn't like having canceled people around her. And also, I legitimately would like to hear her write a song about cancel culture and how it's affected her. Although I think we would argue that she has never really been canceled. But she considers the Kim and Kanye thing a cancellation. And the hashtag Taylor Swift is over party a cancellation, which was more like a mass cyberbullying incident.

[Lauren Garrone]

Right. Which was almost 10 years ago. And it does feel like she's never moved on from that moment, which I.

[Chelsea Fairless]

Think is actually fair. Like, if that happened to me, I don't think I could move on from that even if I was successful. If you're a sensitive person, and especially if you're a person that has a very small world, in reality, a small circle like that would be very hard.

[Lauren Garrone]

Well, we know that Taylor has come back from that, and I think Father Figure is a testament to that. Where she repeatedly says that her dick is bigger.

[Chelsea Fairless]

See, that's another song that I like. Although when she says stuff like my dick's bigger, I think there's a little bit of posturing there.

[Lauren Garrone]

You think I can make deals with the devil because my dick's bigger? Girl, what are you talking about? Is this about buying her masters back?

[Chelsea Fairless]

It could be about buying her masters back. It also touches on the mentor mentee relationship. A lot of people are speculating that this is about Olivia Rodrigo, who herself released a Taylor diss track called the Grudge, which was a beautiful song. That's the kind of music I wish Taylor was making.

[Lauren Garrone]

Oh, see, I wasn't sure if she was Travis's father figure, if she was teaching Travis all of her business acumen to make him better.

[Chelsea Fairless]

Well, as established, Travis's dick is definitely bigger because it is the size of a redwood tree. As someone that grew up in a redwood forest, this is very triggering for me.

[Lauren Garrone]

I also think the issue with this album is, again, correct me if I'm wrong as a Taylor Swift outsider, but it does seem like, almost every song on this album has a better song that she's already written. Like, didn't she have a song called the man or something?

[Chelsea Fairless]

I wouldn't say the man is better than Father Figure. I think that Father Figure is actually a superior version of the Man. But your point? A song like Cancelled is a worse version of Don't Blame Me or I Did something bad.

[Lauren Garrone]

Right. And aren't Dress and Maroon better sexually explicit or sexual euphemism songs than wood?

[Chelsea Fairless]

See, I like wood. I think she learned something from Sabrina Carpenter with Wood, because I think Taylor's been a little not afraid of her sexuality, but maybe not knowing how to be sexual in her music, because she obviously doesn't have the same kind of sexuality as someone like Madonna or Rihanna. But I think with Sabrina Carpenter, she's maybe learned, like, oh, you can be, like, kind of funny and girly and cute, but also slutty in a way that's, I don't know, I guess a little bit more family friendly or palatable or less subversive, because that wouldn't feel right for Taylor.

[Lauren Garrone]

There was another tweet I saw that was like, if Taylor wrote these lyrics, that's bad. If ChatGPT wrote these lyrics, that's really bad. But if Travis wrote these lyrics, I'm kind of proud of him.

[Chelsea Fairless]

Well, I think the other thing about having lyrics where you use words like meme and say things like, everybody's so punk on the Internet. Those things really don't age well when you think about people listening to these songs in 10 years or 20 years. Internet speak is ephemeral by nature. We shouldn't be thinking about it years down the line.

[Lauren Garrone]

Well, she triggered me. And you referenced this in the. In the title track, she has a lyric that says, keep it 100. And I was suddenly reminded of the fact that the first DM I ever sent my now husband was, wow, Your comment is 100 emoji. But that was back in 2016, Chelsea. I was saying shit like, I'm with her pantsuit. Okay. To your point that Internet speak is ephemeral.

[Chelsea Fairless]

Yeah. Also, to get into the fate of Ophelia again, I can almost never say this. Correct. A strange lead single. I will say it is an earworm. It's very catchy. Certainly. I had the very special experience of watching the premiere of the music video in an AMC theater.

[Lauren Garrone]

I want to discuss this with you because I saw other people's videos. And other than the music video, were you then just watching lyric videos of every single song?

[Chelsea Fairless]

It was truly like a humiliation ritual, what I did to myself. Because the reality of the situation is, is that all of the sort of really hardcore people and the kids and, like, if you've seen videos of people singing along and dancing in the theaters, like, that is what happened during the day last Friday by nightfall, it was like all of the people our age that are Taylor fans that just went to, like, you know, support. We all bought tickets for this before the album actually came out, so we just kind of had to go.

[Lauren Garrone]

Were you just getting, like, progressively more bummed out Friday, like, with every hour as you were listening to the album more, and you were like, I mean, I did buy the tickets. I guess I should go.

[Chelsea Fairless]

Well, I wanted to go because I had an expectation that the crowd would be kind of turned. And that expectation was based on my experience seeing the ERAS tour film in an AMC theater a couple of years ago. But it was not the same thing. The audience did not care, even though a lot of them showed up in full ERAS tour merch. And that's another thing I want to say, Taylor. You need better blanks, because the ERAS tour was not that long ago. And these shirts are so misshapen and sad, like, you literally can't wash them.

[Lauren Garrone]

And this has been your big thing with our merchandise of getting and paying for good blanks.

[Chelsea Fairless]

Good blanks. Heavyweight cotton, no synthetic fibers, no cheap construction, and also nothing manufactured unethically abroad.

[Lauren Garrone]

Here's the issue with that is at the end of the day, she really is not just the eldest daughter, but she's a stockbroker's daughter. I don't know if you saw the clip on Graham Norton when she was promoting this album last Friday, something like that. And he was talking about the charm bracelets, the bead bracelets that everyone was making.

[Chelsea Fairless]

The friendship bracelets.

[Lauren Garrone]

Thank you. The friendship bracelets and, like, charm bracelets.

[Chelsea Fairless]

Bitch, what are you talking about?

[Lauren Garrone]

The friendship bracelets where she was like, no, that just happened organically. Like, if I knew what a thing that was going to become, I would have invested in a bead company. Stop trying to profit off of everything. Oh, my God. I showed you a graphic that said, in the two days this album has come out, there's been 28 variants of this album. And I showed it to you, I said, is that true? That can't possibly be true. And you said, it is.

[Chelsea Fairless]

It is true. It's really crazy because. I'm sorry, Taylor Swift selling 28 variants of this album is not the same as Michael Jackson selling how many fucking copies of Thriller, he sold. I don't know. Because that's who she's competing with at this point is Michael Jackson and the Beatles in terms of album sales.

[Lauren Garrone]

I guess so. Oh, is that the reason that she's putting out all of these variants? Just to kind of juice her record sales?

[Chelsea Fairless]

Yeah, that's exactly what it is. I don't even know if it's about the money at this point, but I do want to say one thing, that I respect Taylor Swift for as much as I think that these variants suck and that her merch is poorly made. At least she's not selling us perfumes and makeup and fake Samsonite luggage. Oh, no, shade. She's not selling us margarita mix.

[Lauren Garrone]

Okay, but the last Eras tour was in December. It hasn't even fully been a year. She released several albums during that. Put out a concert film. People went broke trying to go to this concert. I mean, I hate to be this person on the podcast, but, like, people can't pay for fucking groceries. Don't put out 28 variants of an album.

[Chelsea Fairless]

I know.

[Lauren Garrone]

Let people breathe.

[Chelsea Fairless]

But the joke is on them, ultimately the consumer, I think.

[Lauren Garrone]

So if they buy all 28 variants.

[Chelsea Fairless]

If you bought 28 variants of this album, I'm sorry, You deserve what you got.

[Lauren Garrone]

Honestly, I don't think anyone did. It seems the response to this album. And she has been on what seems to be a bit of damage control this week with her interviews. I don't know if anyone bought 28 variants. I think everyone's tired. I think even the most ardent Taylor Swift fans and needs a break.

[Chelsea Fairless]

Yeah, well, she has released over 200 songs since the pandemic, so that is a huge amount of music. Between Folklore, Evermore Midnights, Tortured Poets, this album, and then the reissues for Red Speak Now, Fearless, I believe it's a.

[Lauren Garrone]

Lot and she still won't give us. And yes, I'm gonna include myself in this. What we Want, which is the re recording of Reputation.

[Chelsea Fairless]

Well, we got a taste of that with Canceled and I don't know. Be careful what you wish for.

[Lauren Garrone]

I want getaway car, the 18 minute version.

[Chelsea Fairless]

Me too. I just want a music video for Getaway Car.

[Lauren Garrone]

Was there not one?

[Chelsea Fairless]

No, it wasn't a single. Cruel Summer wasn't a single off of that record. The thing about the Lover album, and I think this fucked up Taylor Swift Forever because that album, I think, tanked a little bit in the public eye because the lead single was me, which is the worst song she's ever recorded. And the second single was yous need to Calm down, which was the like yes Way Rose gay rights anthem.

[Sponsor Voice (Nutrafol/Cash App)]

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[Chelsea Fairless]

The rest of the songs on that album, like Getaway Car, were great, but I think ever since then it's made her scared of even having a single in advance of the album, which she hasn't done since.

[Lauren Garrone]

It seems like she just needs to hire you as a consultant.

[Chelsea Fairless]

Taylor, I'm here. I'm here and I want what's best for you and what's best for your fans. And that is a 38 minute version of Getaway Car.

[Lauren Garrone]

Oh, you've upped it. Do you have anything else to say?

[Chelsea Fairless]

No. And for the sake of the people that don't give a fuck about Taylor or this album, let's move on.

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[Lauren Garrone]

All right. Paris Fashion Week.

[Chelsea Fairless]

Okay, before we get into Paris Fashion Week, I have a public service announcement. Vogue Runway is paywalled now, which a lot of people are annoyed about. It is $12 for your first year and $30 per year after that. And I just want to make the point that we can't have it both ways. We can't drag Vogue for doing really boring, low Budget in studio cover shoots. How are they supposed to if you can't give them $12 a year for a service you actually use?

[Lauren Garrone]

I mean, didn't Jeff Bezos kind of pay for Lauren Sanchez to be on the COVID of the magazine? I think it works the other way too, is you would hope with all these corporate influences and overlords that they could give us our Vogue Runway for free.

[Chelsea Fairless]

Well, that was a digital cover, I want to point out. But for me, when I was a child, Vogue Runway and Style.com did not exist. I had to use this website called First View. I had to pay $10 an hour to look at fashion shows using, like old school dial up Internet speed. So it took me like 20 minutes to look at a single Betsey Johnson show. You know, I would pay $10 to look at three fashion shows.

[Lauren Garrone]

I'm just imagining your parents getting the phone bill at the end of the month and they're like, chelsea, why is our phone bill $1200?

[Chelsea Fairless]

However, I get it, times are tough. And I've not confirmed, but I've heard the that Women's Wear Daily is not paywalled. I don't know if they start charging you after a certain number of page views, but I did go to Women's Wear Daily and you can look at fashion shows there. If you don't want to give Dame Anna $12 a year.

[Lauren Garrone]

Not everyone can write off their Vogue Runway subscriptions like us, okay?

[Chelsea Fairless]

I think we should start with the mega brands, starting with Chanel. This was Michieu Blasey's first collection. What do we think?

[Lauren Garrone]

It's about what I expected for his debut.

[Chelsea Fairless]

In what way?

[Lauren Garrone]

I thought he would probably modernize the codes, update the tweed, you know, at his work at Bottega Veneta. If you think about his debut show, everyone, right, the first look was just a white tee and jeans. And then we learned it was leather and everyone. Holy shit.

[Chelsea Fairless]

Yeah.

[Lauren Garrone]

You know, he evolved the classic tweed jacket with these kind of see through cobweb versions of them.

[Chelsea Fairless]

And yeah, they were actually crochet. They weren't tweed. They were like made to look like tweed. But I think that was my favorite thing in the show, actually. I'm really excited by this because as much as I enjoy the fantasy of high fashion, I do think that fashion designers can be quite sexist. And I don't think that a lot of them are thinking about wearability on a mass scale. First and foremost, I think a lot of people, the goal is kind of to create the perfect woman or to create an aesthetic ideal. But these clothes, honestly, I would think that a woman designed them, which, I mean, is the highest compliment to Matu Blasi. And I appreciate the fact that he's thinking about clothes in that way, because I don't think I've ever looked at a Chanel show and thought I could wear that.

[Lauren Garrone]

Well, I wanted to ask you because I listened to your interview with friend of the show, Marissa Meltzer, where you were both bemoaning and hoping that you wouldn't love the Chanel collection because, you know, for the sake of your bank account.

[Chelsea Fairless]

Well, that's not really a problem for me because I'm never going to be able to afford Chanel. So I'm good. I aspire to own Chanel. I aspire to own those Charvet tuxedo shirts specifically from this collection.

[Sponsor Voice (The RealReal)]

Yeah.

[Lauren Garrone]

So I thought that was a good move on his part to take inspiration from Coco Chanel's boyfriend and collaborate with Charvet to do these shirts worn by Nicole Kidman. I mean, even if the collection was just okay, the fact that he's bringing Nicole Kidman back as the Chanel brand ambassador, it was like chef's kiss poached her for Balenciaga.

[Chelsea Fairless]

Yeah. I thought this show was great. I really did. Because it completely took it back to the Coco silhouette, which I get it. Like a lot of people that look at fashion shows as entertainment maybe won't with this, because all the skirts are below the knee and the clothes are very modest for the most part. There are a couple of showy slinky gowns here and there. There are those crochet tweed suits that are basically see through, but for the most part, this is stuff that could be worn by actual human beings.

[Lauren Garrone]

Yeah. I mean, this goes to Jonathan Anderson's debut at Dior as well. But I think what both these designers did was designing strong separates that work for a younger customer base and an older customer base who can mix and match and make it younger, make it older, which Dior and Shannel need.

[Chelsea Fairless]

Yeah. Before we get into Dior, I also want to say the other thing I loved in this show, which I haven't seen a lot of people mentioning, were these, like, drop waist, please gowns with long sleeves that kind of reminded me of Mary McFadden. That's the other thing in the show that I was obsessed with. But yeah, Dior. It's interesting because these are both young designers. They're in their 40s. I'm gonna assume they both share your birth year, Chelsea. But I think they approach these shows very differently. I think they were both successful. And I really loved Dior. If for no other reason that he put denim miniskirts back on the Runway.

[Lauren Garrone]

Yeah, obviously, this collection, he was inspired by all of the eras of Dior. You saw that at the top of the show where he hired Adam Curtis to do a montage that went through the history of Dior. But I really felt like more than anything, it was a nod or inspired by John Galliano's time at Dior. Like, there was a denim miniskirt, but also, like, the very piratey.

[Chelsea Fairless]

Right. Cause there's those, like, Steven Jones tricorn hats.

[Lauren Garrone]

I'm gonna assume it was a nod to John Galliano and not the fact that Johnny Depp was in the front row.

[Chelsea Fairless]

Okay, fine, let's get into it. Look, he had two months to design this collection. I'm sure that replacing Johnny Depp as the face of Sauvage is a priority, but I can understand how this wasn't like, a top priority.

[Lauren Garrone]

Well, you told me that Sauvage isn't just the bestselling cologne for Christian D. The best selling men's cologne ever.

[Chelsea Fairless]

No, it's the best selling fragrance in the world. And that includes women's. Yes.

[Lauren Garrone]

What?

[Chelsea Fairless]

Yeah, I don't think that that's because of Johnny Depp. I think that's because it is a once in a lifetime kind of formulation.

[Lauren Garrone]

Yeah, I don't think it's due to that commercial where he's playing guitar in the desert or whatever. Look, we need Natalie Portman out as Miss Dior and put in, I don't know, Elle Fanning or something.

[Chelsea Fairless]

She's already been replaced. Like, we've seen the ads with Mikey Mad and with Mia Goth and with Greta Lee. Like, one of them is going to take over Ms. Dior, I would guess.

[Lauren Garrone]

And get Jacob Elordi in for Savage.

[Chelsea Fairless]

Yeah, but you know what? Look, yes, Johnny Depp is there, but you know who else was there? Justin Vivian Bond. And that's the exact sort of person with the right kind of mid century glamour that should be representing Dior. The kind of person that a Lady Dior bag would look perfect on. I loved that.

[Lauren Garrone]

And let's be honest, he's there for his keen eye for accessories. And I have to say, turning the Lady Dior bag into a medicine bag shape. And suede, which seemed to be every newly installed designer's idea for accessories. They're like, what if we made it suede?

[Chelsea Fairless]

Okay, Rude. I think they did a lot of things with the bag, but I liked the clothes to it. I don't know. As someone that's been following Jonathan Anderson's career for the past 15 years, it was very satisfying to see this collection. And it's fascinating. It's a fascinating pairing because he has never struck me as a designer that is interested in prettiness or interested in traditional modes of femininity. And that's the definition of Dior. And we saw that in the opening film. Right. It's bows and ball gowns and shit like that, that. So to me, this made Dior accessible in a way to someone like me that would normally be put off by all of that.

[Lauren Garrone]

Right. I mean, it is the crown jewel in the LVMH offerings and what they own. So while it maybe aesthetically it doesn't match up with Jonathan Anderson, it's also. He gets all the toys now.

[Chelsea Fairless]

I don't know. To me, it looked very much like stuff he's done before. Not in a bad way, but I see like. Like certain ideas that he touched upon in his namesake label at Loewe were brought back to Dior. But. But yeah, I think at the end of the day, I think the accessories, I think the shoes are going to be very successful. I think those D shaped heels are genius.

[Lauren Garrone]

And also the loafer clog, the kind of like Birkenstock shaped shoe that had Dior and then the O was gigantic. It's like a decorative gold O in the center of the shoe was also really strong. And I think it will sell well.

[Chelsea Fairless]

I don't think Jonathan Anderson has sort of changed the way that people dress on a mass scale. But I think he's really pushed the needle forward in terms of like making weird bags and accessories very desirable. Not totally mainstream, but sort of taking these sort of more avant garde ideas and making them a bit more desirable and palatable. And he's done that again.

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[Lauren Garrone]

I don't foresee him, you know, mixing the Lady Dior bag with, say, the pigeon bag. Although I would love to see it.

[Chelsea Fairless]

We'll see.

[Lauren Garrone]

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[Chelsea Fairless]

Oh, I want to get into Glenn Martin's first ready to wear show for Margiela. We of course got the very spooky couture collection a while back. What do we think about this again?

[Lauren Garrone]

I feel like it was about what I expected from Glenn Martens at Margiela. Yet another collection with a lot of denim in it. That's what I sort of noticed from a lot of these date debuts. A lot of denim.

[Chelsea Fairless]

Well, he's very diesel pilled at this point. I like the clothes a lot. I thought they were really simple and certainly more aligned with Martin Margiela's work in the 90s, which is still huge on the resale market and still very desirable. And John Galliano took it in a very different direction, which is his right. But I do think that in this sort of era where so many other designers are continuing to copy Margiela, it's nice that they're taking ownership over the look that made them famous to begin with.

[Lauren Garrone]

Absolutely.

[Chelsea Fairless]

And the clothes are certainly more wearable. Like I have like one dress from the Galliano Margiela era, but for the most part it's like the men's clothes were the only thing that were really wearable. Whereas with these clothes I could see like, oh, I could wear that. Which isn't really a thought that I've had about Margiela in years.

[Lauren Garrone]

Right. And from what I could see, not many tabbies, maybe a few. I think I saw a clear boot that had the tabby shape.

[Chelsea Fairless]

But there were tabbies. But it wasn't like the classic boot that you think of in your head.

[Lauren Garrone]

Or whatever, which I feel like is the correct impulse because there's been a tabby ization.

[Chelsea Fairless]

Well, there's Time to get into that. Like, he doesn't have to blow his load with the first show. But I also think that the clothes in this show were completely overshadowed by other things. Firstly, the mouth jewelry. I don't know what else to call this. Basically, they made these mouthpieces that made the model's mouths appear to be stitched open with the signature white thread of the Margiela label.

[Lauren Garrone]

Right. There were pieces on each side of their mouth, top and bottom. And so it looked like the signature Margiela tag, which in the show notes, they said that this was to achieve a uniformity of expression.

[Chelsea Fairless]

Well, they succeeded in. And it was terrifying. I thought it was cool, but I don't think it needed to be every single look. And when I first saw this, I couldn't help but think of this Hood by Air show from a decade ago where they did a really similar thing. Hood by Air made something that it was more like the halfway point between a grill and the rubber thing that they put in your mouth at the dentist office if you're getting your teeth whitened.

[Lauren Garrone]

Right.

[Chelsea Fairless]

But in that show, every model wasn't wearing those. And, yeah, I think it really loses its impact by the 50th look.

[Lauren Garrone]

You either have to do less looks or less models have to be wearing it.

[Chelsea Fairless]

Also, they completely traumatized those school children. Can you imagine a childhood memory being this?

[Lauren Garrone]

So we should say that instead of having a dj, Glenn Martens had an orchestra of young children playing classical music off tune.

[Chelsea Fairless]

Yeah, because they weren't like elite child musicians. They were just like a regular children's orchestra. But it was so cute because they were all in oversight Margiela suits. It's a callback to the very famous Margiela fashion show from the late 80s, which was at a school where the school children from that school participated in the fashion show.

[Lauren Garrone]

Now, do you think the children were more traumatized by the models and their mouthpieces or seeing Kim Kardashian in a Kris Jenner wig?

[Chelsea Fairless]

It's hard to say. I'm surprised that she did this Kris Jenner wig, because I know people hate when we talk about the Kardashians, but did you see that episode of the Kardashians where it was like Kris Jenner's birthday and they all dressed up like her and they all wore those wigs, and Kim was like, I hate this. I look disgusting. And she's basically wearing the same wig.

[Lauren Garrone]

It's also tough because Kris Jenner, with this new facelift, has substanced her own daughter. So it's like, Kris looks now younger than Kim, even. So for Kim to wear a wig that makes her look like her own mother, it's very confusing.

[Chelsea Fairless]

No, it's true. Like Kris Jenner with, like, short, bleached blonde hair and this facelift, which she has, now actually looks younger than Kim Kardashian in this wig somehow.

[Lauren Garrone]

Yeah, Perhaps even younger than Kendall, but not as young as Kylie, anyway.

[Chelsea Fairless]

Balenciaga. Pier Paulo for Balenciaga.

[Lauren Garrone]

I've been struggling with this collection. I don't know how to feel about it.

[Chelsea Fairless]

It's not my favorite. I do think, think there are some beautiful clothes in the beginning and the end. He's referencing Cristobal Balenciaga's designs in a very literal way. And those are timeless clothes, particularly the sack dresses, which he basically just recreated. However, the middle section reminded me of all the reasons why I never liked Valentino. Ready to wear to begin with, I.

[Lauren Garrone]

Was gonna say, because the first half of the show, you can say, well, Pierre Paolo is doing a more reserved, minimalist. Minimalist look. But then halfway through the show, you're like, well, there's a ton of hallmarks of his time at Valentino. The, you know, ornate feathers, voluminous silhouettes. And so the collection was a little bit of everything, including denim. Denim, again, yeah.

[Chelsea Fairless]

It just didn't really speak to me. Also, I feel like the accessories, which I think have really been Balenciaga's strong suit in recent years, whether or not you like their clothing and you like expensive hoodies or you like clutches that look like bags of potato chips, they actually made really, really beautiful handbags, and handbags that were quite traditional, as well as handbags that were more conceptual and stunty.

[Lauren Garrone]

You called me rude earlier, but this was the collection that made me realize, oh, pretty much every designer who made their debut was like, what is the classic bag? Let me do it in suede. Because basically his iteration of the city bag was just doing it in suede, which I saw someone call it the suburb bag.

[Chelsea Fairless]

He put a purple city bag with gold hardware on that Runway.

[Lauren Garrone]

You sound like Carrie Bradshaw describing her first engagement ring from Aiden.

[Chelsea Fairless]

I was literally just like, ew, it's such a downgrade. But again, it's like, all these designers are very different. They have very different intentions. A lot of people didn't like what Demna did for Balenciaga, but what Demna did for Balenciaga actually did change the way that regular people dressed on a mass scale. This is not going to do that. This might do something very different. It Might be the chicest clothes for the richest women. And that's cool. And that's valid because they need clothes too. But for me, I'm just not that interested. Although it's his first show, I think that with all of these debuts, we need to give people the benefit of the doubt. Doubt. It's not normal to come into a brand like this and have your first collection. Just be the end all and be all.

[Lauren Garrone]

Although that kind of happened for Matu Blasi at Bottega Veneta and seemingly Chanel.

[Chelsea Fairless]

Yeah.

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[Lauren Garrone]

Okay.

[Chelsea Fairless]

Louisville is now designed by Jack McCullough and Lazaro Hernandez from Proen se Schooler. I think this was a great show for them. I think they're very talented designers, but I wasn't super excited by this.

[Lauren Garrone]

Yeah. Lazaro Hernandez gave a quote to Vogue Runway that I think is very telling. He said, it's been so fun. I don't even know how to talk about it. Being able to unleash the thing inside of us, no restriction. Just being able to play an explosion experiment. We're so happy. And I think it comes across and I think the point you're getting at is like, yes, it comes across that these two people up and left their own label to be like, yes, give me LVMH money so that I can design and play and have all of the fun things. And I think that is shown in the collection.

[Chelsea Fairless]

I don't think it's just the money. I think it's also the resources in terms of production. Because Loewe is one of the oldest leather goods manufacturer in the world, luxury leather manufacturers. So they're coming into a really, really good situation.

[Lauren Garrone]

Yeah. And I agree with you. The clothes are whatever, but where they shine is with the accessories. Like I am fully in for those rubber kitten heel boots with the interchangeable socks.

[Chelsea Fairless]

Yes. And Louise Trotter did kind of a similar thing at Bottega and I thought.

[Lauren Garrone]

Both of them were cool, even though you told me that I can't buy any more shoes.

[Chelsea Fairless]

Well, you just have to wear your shoes. Okay. If you go into Lauren's closet and you turn the shoes over, they've never been worn or they've been worn once.

[Lauren Garrone]

It is Los Angeles. Sometimes I'm wearing these things and going from my car to a restaurant, restaurant to the car.

[Chelsea Fairless]

And look, some of your shoes, like the soles are busted and I know you've actually worn them, but a lot of them, they're pristine. And I'm like, girl, like, take them out for a spin at least.

[Lauren Garrone]

Alright, I will if you'll watch more.

[Chelsea Fairless]

Also, I really liked the handbags that looked like mollusks in this show. But I think what they did with this show, they took what was good about them. They took certain elements of the look that Jonathan Anderson brought to Loewe. This sort of like Ibiza hippie bohemian vibe. And then they mixed that with this sort of dominant Phoebe Philo aesthetic, which I think is what I'm sick of. Like, I don't think that it's bad, I think that it's amazing. But we' had it now for over a decade. Certainly.

[Lauren Garrone]

Yeah. But their latter work at Parenza definitely had that art gallery Tribeca girl vibe, which I think is what you are sick of.

[Chelsea Fairless]

Yeah, I just. I want a new look. I want a new look for this sort of like arty minimalist set. And that's not something that can just be manufactured. That takes a once in a generation talent to change the way that that bitch dress dresses. But I would like to see it happen. Okay. Mugler. This is the first collection by Miguel Castro Freitas.

[Lauren Garrone]

I don't want to invoke Anthony Marantino by saying, hates it, but I didn't need it.

[Chelsea Fairless]

I think the tailoring was good. Like, I think I liked the silhouette, but I was instantly repulsed by the beige, like, the neutral color palette. I feel like we get neutrals from so many designers. I want something fun from Mugler, and especially after seeing the Versace show this season, I'm like, oh, it's actually really cool when someone comes into the fun, slutty brand and does something that's outrageous and, like, goes hard. And I think Thierry Mugler was an outrageous designer, and I think it was about more than just creating this sort of cunty, extreme hourglass silhouette. I think it was a lifestyle. And I missed the casting from the fashion shows in recent years. Years that was also boring.

[Sponsor Voice (Nutrafol/Cash App)]

Yeah.

[Lauren Garrone]

Nude is not a color I associate.

[Chelsea Fairless]

With Mugler, but again, want to give him a chance. And you never know what situation these designers are coming into. I think people always assume, like, whatever creative director gets this job has full creative control. That's not the case.

[Lauren Garrone]

Right.

[Chelsea Fairless]

A lot of the time, so sometimes it is, but not always.

[Lauren Garrone]

It was safe and boring.

[Chelsea Fairless]

Okay. Michael, writer for Selene.

[Lauren Garrone]

I don't really have thoughts on this collection. It's a nice collection.

[Chelsea Fairless]

I fuck with it. I think he's done something really fascinating and really pragmatic, which is identify the things about Celine that Phoebe Filo did well and identify the things about Celine that Eddie Slimane did well. And he's taken those things, mixed them together, and then he's imbued it with, like, the Ralph Lauren shit that he was doing previously, basically, and kind of switched up the color palette a little bit. I think it's good. I think it's smart. And I think this is a glow up for Celine.

[Lauren Garrone]

Absolutely.

[Chelsea Fairless]

And I think that people will buy this. They definitely will buy the bags. I think that's already happening. But I think that Celine made a mistake by alienating the Phoebe Filo consumer completely once she left. And now I think there is a world where she could shop there again. And it's also cute seeing people like Miranda July and Ottessa Moshfegh at the fashion show. That's showing me that he's thinking about these clothes on a certain type of fab, sick, twisted woman, and I love that.

[Lauren Garrone]

Of which you consider yourself one of.

[Chelsea Fairless]

One of us.

[Lauren Garrone]

One of us.

[Chelsea Fairless]

But this is, like, respectable clothes for that woman.

[Lauren Garrone]

Well, she's got to go to a PTA meeting every once in a while.

[Chelsea Fairless]

Okay.

[Lauren Garrone]

Ooh.

[Chelsea Fairless]

It makes me sad to even get into this. But John Paul Goti.

[Lauren Garrone]

Who's this guy again?

[Chelsea Fairless]

Duran Lantink. Sorry if I'm doing a bad pronunciation there. It wouldn't be the first time.

[Lauren Garrone]

I've also seen four different pronunciations of his surname, so whatever. This is probably the most derided, controversial show of Fashion Week. I have heard everything from this is misogynistic, hateful to. No, no, you don't get it. It's a play on Gaultier's 80 Club Kids designs. I'll just say this. It doesn't spark joy. No.

[Chelsea Fairless]

The part of me that wants to be a contrarian and say that this is fab doesn't exist. This was horrible. My instant reaction was horror. And honestly, I think that part of the reason why the Chanel show has been so well received is because the lead up to it was collections like this. And also the scary Margiela show, which a lot of people thought was sexist also.

[Lauren Garrone]

Right. I also think that he got the job at Gaultier from his Spring Summer 2025 collection because there were a lot of Gaultier dog whistles, oversized bras, like, striped sailor looks. None of that was in this collection.

[Chelsea Fairless]

Well, the weirdest thing about this collection is it didn't even look like down market Gaultier. It looked like down market versions of his own label, which looks fab, like.

[Sponsor Voice (The RealReal)]

And.

[Chelsea Fairless]

And I'm glad that he has been successful. And I think it's cool that. That they now stock it at Maxfield and they stock it at Dover Street Market and starting to see people wear it. And that's, like, cool, and that's deserved. But I just really don't think that this lived up to the hype.

[Lauren Garrone]

Everyone lost their mind from this headline. He did a podcast with Vogue and he said, I'm not entering the archive. Which everyone was like, that's the problem. Look at him. He didn't even.

[Sponsor Voice (Nutrafol/Cash App)]

He has all this history.

[Lauren Garrone]

He didn't even look at anything.

[Chelsea Fairless]

Anything.

[Lauren Garrone]

He just designed what he wanted. And this is the full quote. We started directly doing fittings. I'm not entering the archive. I'm keeping it closed for now. I want to go in, but first, I kind of want to imagine what's behind that door and create a fantasy world that way. Here's the issue. There is not a more prominent designer with, like, clear house codes than Gaultier. Like, you don't even need to do research to design something that would honor his history.

[Chelsea Fairless]

I was going to say the same thing. Thing. Yeah. There's so many Gaultier isms that are Readily available that you don't actually have to go in that archive. You could do it just based on memory.

[Lauren Garrone]

So for those who have not seen the collection, it is a mixture of ill fitting, puffy outfits, especially in the crotch area. And then also these looks like you got it from Fashion Nova or like an Amazon Halloween costume of a hairy body bodysuit.

[Chelsea Fairless]

Yeah, see, that didn't offend me as much as it offended a lot of people. Like, I thought it was pretty, like, boring or it's. It's pretty like predictable. Right. We've seen Gaultier release similar things in recent years. Not dicks, vaginas, but still. And I do think that like, on the right lesbian, you know, a little mesh shirt with like a man's chest and like some chest hair could look kind of fab. But on a conceptual level, it's not doing much.

[Lauren Garrone]

He's also known for kind of attention seeking designs. There was his previous collection which had the, you know, breastplates and such. But I think the issue is he's never had a bigger spotlight on him. And whether this was a stunt or it was to grab attention, he's kind of become the butt of the joke for Fashion Week, which I can't imagine is anyone's intention.

[Chelsea Fairless]

Well, you should be able to do both, right? Because not every single look has to be wearable. You can put things down the Runway just for shits and giggles, just to do something extreme. But at the end of the day, almost nothing in this collection was wearable. And I know so many Gaultier people. Like people that have been collecting Gaultier for years. And I can't imagine any of them in any of this, which is crazy. Crazy considering I'm thinking about, like, chicks and gays and like a wide swath of people. I just. I don't know who this is for.

[Lauren Garrone]

I don't even know how you translate those looks on the Runway to the store.

[Chelsea Fairless]

You don't. Weirdly enough. I think the bodysuit with the chest and the dick was kind of the most commercially viable thing.

[Lauren Garrone]

We'll see if he makes it another collection.

[RealReal Customer]

Okay.

[Chelsea Fairless]

Dries van Nell. This is Julian Klosner's first women's collection. We saw a men's collection previously, and I have to say I've been very worried about the future of Dries. It's a brand that I don't want anyone to fuck with. And now I'm feeling good. I'm feeling really good, actually. And it makes me very happy to see what he did with this show.

[Lauren Garrone]

I was worried on your behalf. And you're the driest head. But the first few looks looked a tad subdued, but I felt like it got very dreezy halfway through the collection.

[Chelsea Fairless]

Yeah. The caftans in particular were divine. I'm going to be trying to find them on the RealReal three years from now. I mean, I don't know. We'll see how expensive they are. We got to go to the store when these clothes actually arrive. I want to see it in person.

[Lauren Garrone]

Absolutely. Another store we need to hit up when the collections actually hit would be Tom Ford.

[Chelsea Fairless]

Yes. Oh, my God. The last time I went to the Tom Ford store, it was so depressing, and I actually felt like crying seeing what was on the mannequins. And now I'm actually shocked by how good this is because it's been a mutual glow up. It's like, you know, the whole thing with, like, the bench for Trey and Charlotte, and, like, the wood makes each other stronger. It's like somehow both Heider Ackerman and Tom Ford have come out looking better than ever from this.

[Lauren Garrone]

Oh. Never hotter.

[Sponsor Voice (Nutrafol/Cash App)]

Yeah.

[Lauren Garrone]

There was something that he was able to recapture from, like, the heyday of Tom Ford and Gucci, where there was, like, a nastiness to this collection, but also, like, very hot.

[Chelsea Fairless]

Yeah. And everyone that went to the show was very impacted by the experience of going to the show. And I think that says a lot, especially given how many fashion shows these people are going to in a given month. Yeah. I also. I loved the. The references to Rudy Gernreich. I loved the hairstyles of the models. I loved the opening trio of, like, models in these sort of. I don't know if they were sequins. I don't know if it was alligator. I don't know what it was. Very flashy, very cunty little skirt suits.

[Lauren Garrone]

Yeah. I couldn't tell if they were skirt suits or trench.

[Chelsea Fairless]

We need to take a better look.

[Lauren Garrone]

Looking at this collection unlocked, looking at Gucci collections when I was younger, because, like, that's a silhouette. He used to do a lot that, like, high neck. Is it a trench? Is it a dress? Is it a skirt suit?

[Chelsea Fairless]

Yeah. I think the word cunty is overused as a descriptor for clothes nowadays. But these clothes were actually cunty. Like, this is clothing for a bitch with taste.

[Lauren Garrone]

Yes. And it, like, pushed Tom Ford further than Tom Ford has even gone. Like, there was that one dress where it was cut down, literally, to the belly button, and then, like, it was then cut all the way up to the crotch. Honestly, there's, like, four inches of fabric.

[Sponsor Voice (Nutrafol/Cash App)]

Yeah.

[Chelsea Fairless]

Again, I feel like that was one of the more, like, Rudy Gernreichy looks in the show. But, yeah, I think at a certain point, Tom Ford hit a wall creatively. Like, he's a legend. Respect to my king. But, like, that did happen, and now that problem has been solved. And seeing a collection like this, it really does. It makes me want to. To buy sunglasses or perfumes or whatever I can buy into, because I'm not buying these suits I wish I aspire to again. Maybe that's a real, Real several years down the line kind of vibe for me.

[Lauren Garrone]

But, you know, something's expensive when you go to the outlet mall. And shockingly, in Cabazone, Tom Ford has an outlet store. I don't know if it's still the case, but he used to. And, like, my mom once bought a sweater from Tom Ford, and it was like, even at the outlet outlet, it was expensive. Like, that's how expensive his clothing is.

[Sponsor Voice (The RealReal)]

Yeah.

[Chelsea Fairless]

Well, justify the price. And I think he has.

[Lauren Garrone]

But this was one of the labels where it was like, there's no way that someone could come in and make it better.

[Chelsea Fairless]

No, but it's always possible. That's the beautiful thing. There's always the potential for a brand to go from being tragic and stale to being the hottest brand in fashion, the most critically acclaimed, the most commercially accessible. It's always possible.

[Lauren Garrone]

Sure. I mean, you know, it's like a Phoenix rising from the ashes. But, like, some are an actual Phoenix rising from the ashes. Some are just that Phoenix rising from the ashes of Ben Affleck's butt crack, because it's his back tattoo.

[Chelsea Fairless]

Actually, the Chanel show was kind of giving Phoenix particularly that finale look. Also, I do think Michieu's dabblings in feathers should be applauded. He also did great stuff at Bottega with feathers. And Chanel has done great feather stuff in the past too, of course, but that was really fab. Okay, what else?

[Lauren Garrone]

Well, I feel like the other side of Tom Ford and installing a new designer into a singular, very iconic designer who's no longer with us would be Sean McGurr's collection for McQueen. I do feel bad for Sean McGurr because he is someone who, like, during his first collection, he was like, I didn't look in the arch archive. And he got shit for that. And this collection, he clearly was like, I looked at the archive. I reimagined iconic Alexander McQueen pieces. And people were like, no, it's too.

[Chelsea Fairless]

Referential well, did you like this, though?

[Lauren Garrone]

Well, to your point, as someone who exclusively looks on the realreal for early 2000s era McQueen, I loved it.

[Chelsea Fairless]

See, I hated it. But I don't know, to me, it like leaned into Cavalli. And look, I do think that, like the. The sheer bumpster pants look great on Alex Khonsani, but most women aren't her. And honestly, they don't have to be. McQueen's clothes were kind of unwearable for most people.

[Lauren Garrone]

Right.

[Chelsea Fairless]

Again, it was. It wasn't trying to be. That wasn't the point. But this didn't hit for me. What do we think about Alaia, though?

[Lauren Garrone]

Oh, that was a sigh of love. I mean, just give me some thigh fringe and put me in a little cocoon off the shoulder jumpsuit.

[Sponsor Voice (Nutrafol/Cash App)]

Okay.

[Chelsea Fairless]

I liked this show, but I actually do take issue with the cocoon jumpsuit with the constrained arms. Who's wearing that and where are they going? I can't even picture a model wearing that. And like I said, it's fine. Not everything has to be wearable. You can have pieces on the Runway that are more like thesis statements or whatever.

[Lauren Garrone]

Yeah, I don't think that that particular look will be making it to the stores.

[Chelsea Fairless]

They lost me with that. I don't know. Who knows, maybe Kim Kardashian will wear it. It's kind of similarly insane to that Margiel Couture look that she wore at the Venice Film Festival.

[Lauren Garrone]

Right. Saint Laurent, I imagine you want to talk about the. The last 10 looks that were all the ball gowns.

[Chelsea Fairless]

Well, I loved them. I love the whole show. And some might say that it's redundant, but I think that Anthony Vaccarello's decision to basically only design three things per collection is admirable.

[Lauren Garrone]

Sorry. In my head I just hear like, some people. People might think that that's redundant and those people are fucking idiots.

[Chelsea Fairless]

No, it was basically like the first section was all about this sort of like leather skirt suit with a big white blouse. The middle section was all about trench dresses. And then the end was these big, poofy, ruffled 80s style ball gowns which were made a bit less conservative because they were like sheer and not. Not like stiff taffeta.

[Sponsor Voice (Nutrafol/Cash App)]

Yeah.

[Lauren Garrone]

I think it's a stark contrast to other collections where it's just 70 completely different looks. Like it does make you stand up and give more attention when someone does three things very well in every possible iteration.

[Chelsea Fairless]

Yeah, it's like 20 iterations of one thing. Yeah, I'm into it. I was not sold on him initially, but over time I think he's really proved himself and I think he's massively talented and these clothes are chic as fuck and I support him.

[Lauren Garrone]

There you have it. We don't award gold stars here on every outfit, but maybe we should. Maybe we should.

[Chelsea Fairless]

Are you giving a gold star to Chloe?

[Lauren Garrone]

Sure, why not?

[Chelsea Fairless]

This Carrie Bradshaw ass collection.

[Lauren Garrone]

You know what, it's the perfect mix. I think of Sarah Jessica Parker and Carrie Bradshaw fused as one person.

[Chelsea Fairless]

Yeah. There's been certain things this season that like. Like seeing the first section of these sort of 80s inspired floral dresses at Chloe and also seen the incredible shoes at Dior, which were basically like these giant flattened rosettes. I was like, oh, actually it is a little sad that Anne just like that isn't coming back just because you know that these clothes would make their way onto the show.

[Lauren Garrone]

Absolutely. I like the play in proportion. There's this one look that is an iteration of a trench coat sort of khaki material and yet it has has like a drop crotch and then like a little like under the knee pebblem and like a cape detail which as 80s. It's very 80s. And also as someone who's five' three, like I can't wear this.

[Chelsea Fairless]

Oh yeah, you would look crazy in that. So would I. For the record, no shade.

[Lauren Garrone]

However, if we got on each other's shoulders, maybe we could pull that look off.

[Chelsea Fairless]

Yeah, I kind of feel indifferent about this collection. I think there are aspects of what she does that I like lot. I do like that she broke away from the Chloe look for the first section of the show. I don't think that the Chloe woman should be like forced to wear like white eyelet dresses and rompers for all eternity. Like it's like some horrible spell that's been cast.

[Lauren Garrone]

Although did we need that very 80s pink magenta lipstick on every single model? That was rough to see.

[Chelsea Fairless]

I don't know if we did also shout out to Caroline Polachek, who looks so fab that I didn't even notice that she wasn't a model the first time time I looked at this show. She fit right in. Okay. Valentino. This collection was kind of overshadowed in the best way by the presence of Lana Del Rey and her alligator tour guide husband.

[Lauren Garrone]

Do you think he gets pto? Like, do you think he has to give notice way ahead of time at the alligator tour company that he's going to be at Paris Fashion Week?

[Chelsea Fairless]

If he didn't own the company before, I bet he does now.

[Sponsor Voice (Nutrafol/Cash App)]

Yeah.

[Lauren Garrone]

There were a lot of Alessandro Michelias in the collection, understandably so. But I did find it a little more pared down compared to his other collections. Like, there were not a lot, but, like, peppered in. There were quite simple but exquisitely draped dresses.

[Chelsea Fairless]

But also that's in the styling. Like, they went less hard and less crazy with the styling, which I don't know if they could have gone harder with the styling than they did in whatever that last couture show was.

[Lauren Garrone]

Right.

[Chelsea Fairless]

Like, I feel like that was, like, as crazy as things could get, it perhaps will ever get. But I continue to think that he's great, that these clothes are beautiful, that these are the kind of pieces that you would dream of finding in an expensive vintage store. And I think ultimately they will endure, and that the pulling back of the styling, I think, was smart. The clothes enough are good enough on their own. They don't need all of that.

[Lauren Garrone]

Right?

[Chelsea Fairless]

Okay. Mew Mew.

[Lauren Garrone]

Our girl Sandra Hewler opened the show.

[Chelsea Fairless]

She better work. First she gets the Phoebe Filo campaign, and now this, like, move over Claudia Schiffer. There's a new German in town, and she's looking like a lesbian service worker, and it's hot. And finally, the lesbian service workers that wear aprons get their due. You know, like when you pull up to the Home Depot or to the butcher and some dyke behind the counter looks like the. Like, you know, she's not fucking up your order.

[Lauren Garrone]

Speaking of a collection that is just 50 iterations of one idea, this Miu Miu collection is here to say the future is apron.

[Chelsea Fairless]

Yeah.

[Lauren Garrone]

Every single model was wearing a version of an apron. You know, there's a lot of attention to Sandra Huler, but no one is talking about Richard E. Grant in a leather apron walking down the Runway. That's kinky.

[Chelsea Fairless]

Look old men can wear Mew Mew too. It's very inclusive. They have age diversity, gender diversity. It's fab.

[Lauren Garrone]

I can't wait to see Kylie Jenner at the Marty supreme premiere in a Miu Miu apron. Can I ask you a question? Have you seen on Sunset Boulevard, the Miu Miu eyewear campaign where it's Kylie Jenner? So it's like one billboard, Kylie Jenner. Then next to her, I swear, is a different model. But then the third billboard is also Kylie Jenner, but that second model doesn't get a second look. So I'm like, wait, is that middle person I don't think is Kylie Jenner. Is that just Kylie Jenner in a frizzy Wig or something.

[Chelsea Fairless]

See, I haven't seen that. I think I was too distracted by the, like, extremely transphobic ads for the new Ryan Murphy Ed Gein series, which, sadly, it didn't detract me from watching it. I wish I could say that it did. I haven't finished it, but I started watching it at the dentist the other day. Cause, you know, the dentist I go to in WeHo, like, there's TVs, like, flat screens mounted on the ceiling. And after I was done with three hours in the chair, by the way, I had to have, like, multiple, like, old, nasty mercury fillings replaced. My dentist was like, what were you watching? And I was like, oh, it's like, had to explain who Ed Gein was. And I was like, you know, like, Psycho and Texas Chainsaw Massacre and Silence of the Lambs. And he was like, normally people that.

[Lauren Garrone]

Come in here watch, like, Friends or Parks and Rec.

[Chelsea Fairless]

Yes. They watch something less scary than what's being done to them. He was like, you're the opposite. I was like, oh, there's something deeply wrong with me.

[Lauren Garrone]

I don't know if there's something deeply wrong with me. I don't know if it's motherhood or what, but I'm like, this is too scary. I can't. I can't go there. And I'm someone that loves Charlie Hunnam. Chelsea. I have watched all of Sons of Anarchy, and I saw Pacific Rim, which I think he was in.

[Chelsea Fairless]

You don't need to go there. I mean, you'd probably be into. Because there's aspects of it that go beyond Ed Gein. It's like, we also get the backstory of the making of Psycho and, like, Anthony Perkins. And, like, that stuff, obviously is super interesting, but I don't know. When I stepped away from watching the, like, Jeffrey Dahmer monster, I was like, I didn't need to do that to myself. Like, that was almost, like, too much depravity and ugliness and darkness to, like, bring into my heart home. And now I've done it again.

[Lauren Garrone]

Well, you confined it to the dentist chair.

[Chelsea Fairless]

I did. But also, I think there's something to be said for we. We all have such, like, extreme decision fatigue now. So sometimes if you log into Netflix and it's just, like, the first thing you'd rather just click play than, like, look for something, which is my, like, sick problem.

[Lauren Garrone]

I also don't love Netflix's new Internet interface. Let's. Let's move on to the rest of Fashion Week.

[Chelsea Fairless]

Okay. Is there anything Else to say about Miu Miu? Not really. I guess if you want to get the look for Less, because. Because the end half of the show was like aprons that were more like.

[Lauren Garrone]

Like a 1950s housewife.

[Chelsea Fairless]

Maybe even a little later. Like it was more like 60s or 70s. Like this sort of apron you would make from a pattern in a McCall's magazine.

[Lauren Garrone]

Wow.

[Chelsea Fairless]

And. And I've seen a lot of these at thrift stores. So, guys, if you want to get the look for Less, a quick Etsy search should sort you out.

[Lauren Garrone]

Yeah. Save yourself $2,800.

[Chelsea Fairless]

Well, that's kind of it. We don't really have anything else to talk about. Although I do want to say, I think often when we talk about Paris Fashion Week, we talk about the bigger shows because more people have seen them and this being an audio medium, it's always difficult for us anyway. But I do want to give a shout out to some younger emerging designers, if you will, that I think have been killing it at Paris Fashion Week. Firstly, Abra, I don't know if you guys have seen this brand. They've done some very Carrie Bradshaw things. And the guy that designs this apparently did a lot of the most famous shoes for Loewe, like the balloon heels and stuff. And the shoes that they are doing are absolutely insane. The clothes are great too. But I think that this is a brand that merits some attention also. Hodakova, Julie Kegels had been consistently good in recent seasons. Vacara, which we often talk about.

[Lauren Garrone]

Always good.

[Chelsea Fairless]

Always good. And August Baron, who previously released collections under the name All In Studio. I think they were correct to rebrand themselves like Mew mew. They also leaned into a. A housewife aesthetic. It's giving domestic labor in a very heightened way.

[Lauren Garrone]

Yeah. The layering of this show and the pieces were so brilliant. And the silhouette, which is very Carrie Bradshaw of like, like a cardigan that almost got like fused to a different shirt, but it's worn as a crop top and then, you know, your whole ab area is exposed and then a big poofy skirt.

[Chelsea Fairless]

Their clothes are really good. Like if you look at their online store, it's not cheap. Like it's as expensive as anything, but it looks as good as the big brands.

[Lauren Garrone]

And I thought their shoes were great as well. The like thigh high black boot with the zipper that went all the way to the top of the thigh was very hot.

[Chelsea Fairless]

Yeah.

[Lauren Garrone]

Again, perfect for an audio medium. We will link to all these shows.

[Chelsea Fairless]

But yeah, this has been a truly historic season. I don't think we'll ever see anything like this again. And we're still in it. These were the first shows for a lot of these creative directors. I'm interested to see who will rise to the top once we're a few seasons in or a decade in, who is still gonna be there.

[Lauren Garrone]

I mean, something tells me not many of them. If the musical chairs of designers only seems to be going faster and faster and faster. Wow. I feel like Heidi Klum. One day you're in, the next day you're out.

[Chelsea Fairless]

Okay, can we talk about Heidi Klum? Because I was very surprised to see her at Vivian Westwood.

[Lauren Garrone]

So she closed the show as the bride. She wore the bridal look that ends most Vivienne Westwood shows. And, yeah, not someone I associate with Vivian Westwood.

[Chelsea Fairless]

I was like, what?

[Lauren Garrone]

Well, I was also like, are they dating?

[Chelsea Fairless]

Yeah, that was a weird bit of stunt casting. I did like that show. But, yes, I question how Heidi Klum fits into Vivienne Westwood, the brand, you.

[Lauren Garrone]

Know, Pamela Anderson had a relationship with. Vivienne Westwood wore a lot of Vivienne Westwood. And that made sense because there's an activism side to her that I don't associate with Heidi Klum. So, yeah, I'm not sure what the overlap is unless Andreas and her are dating for sure.

[Chelsea Fairless]

But, well, but even Pamela Anderson. It made less sense at the time.

[Lauren Garrone]

Right?

[Chelsea Fairless]

It makes more sense now that Pamela Anderson is like, I don't wear makeup. Like, I'm aging naturally. That's very Vivian Westwood. But yeah, one of my favorite books, actually, that I have is this Jurgen Teller book called Election Day that was like. I guess they shot, like, that Vivian Westwood campaign with Pamela Anderson on the day that Barack Obama was elected.

[Lauren Garrone]

Oh, my God.

[Chelsea Fairless]

So it's like all these really fun photos of. Of, like, Pamela Anderson and Vivian Westwood, like, in front of the tv, like, pointing at it, like, very cute. Kind of like the photos on your wedding day when Trump was almost assassinated.

[Lauren Garrone]

Oh, wow. Yeah. Well, before we go, can we just bring up the fact that Laura Dern opened Gabriella Hearst's show?

[Chelsea Fairless]

See, I thought that was really smart because Gabriella Hearst is not a gimmicky designer. But in this season where everyone is focused on the new kids on the block, like, you need to do something to set yourself apart. Like, Thom Brown did alien masks, and Gabriela Hearst just had Laura Dern open the show.

[Lauren Garrone]

And I learned through Vogue Runway that it was a collection inspired by tarot, and that Laura Dern wore a dress made of 2,400 leather flowers meant to symbolize the fertility and expression of the empress card.

[Chelsea Fairless]

I just think that's a really strong, like, vogue Runway thumbnail.

[Lauren Garrone]

It is. And it made me go to the vogue Runway description of the show, and I learned what the show was inspired by, something I probably wouldn't have done.

[Chelsea Fairless]

Also, I did not do any research about this, but I don't think she's been in a fashion show before. I think there's something really special about someone modeling that has never set foot on a Runway.

[Lauren Garrone]

No. At 58, this was her Runway debut.

[Chelsea Fairless]

Well, good for her.

[Lauren Garrone]

Well, another Paris fashion week. We crushed it. Chelsea until couture in January.

[Chelsea Fairless]

I can't wait to see. But as always, you and I will be back next week to talk about one battle after another, which you actually have to see now.

[Lauren Garrone]

That's right. I gotta get a babysitter. And I will be at the vista theater for that 10am screening. And also the Victoria Beckham documentary.

[Chelsea Fairless]

Oh, yeah.

[Lauren Garrone]

It's three parts, baby.

[Chelsea Fairless]

Great. I need something to live for right now.

[Lauren Garrone]

Okay.

[Chelsea Fairless]

Well, I was living for the promise of a new Taylor Swift Swift record, But now my dreams have been crushed. So give me something. I need something that takes me out of, like, Ed Gein's scary house and into the chic and aspirational world of Victoria Beckham.

[Lauren Garrone]

And yet we didn't even talk about her collection.

[Chelsea Fairless]

We could do that next week.

[Lauren Garrone]

All right, guys. Until then, bye. Bye.

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