246: On Timothée Chalamet, Chanel, Sex and the City 2 (Feat. Alexander Fury)

Summary

Podcast Summary: Every Outfit – Episode 246

On Timothée Chalamet, Chanel, Sex and the City 2 (Feat. Alexander Fury)

Release Date: November 7, 2025
Hosts: Chelsea Fairless, Lauren Garone
Featured Guest: Alexander Fury (Fashion Features Director, AnOther Magazine; Men’s Fashion Critic, Financial Times)

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Episode Overview

This lively and detail-packed episode explores the intersection of high fashion, celebrity culture, and Sex and the City fandom. Chelsea and Lauren discuss the latest fashion news—from Timothée Chalamet's polarizing Vogue cover, to breaking news in Hollywood and fashion, and into a deep-dive interview with the acclaimed and eccentric fashion journalist Alexander Fury. Fury brings his encyclopedic knowledge and wit to topics including Chanel’s latest collection, archival couture, the musical chairs of the designer world, and a raucous reappraisal of Sex and the City and its spinoffs.

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Key Discussion Points & Insights

1. NYC Politics & Pop-Culture Leaders (01:30–04:00)

• The hosts react to the election of Zoran Momdami as NYC mayor, with tongue-in-cheek commentary about people threatening to leave the city (“My biggest trigger is people threatening to move to Canada that have no follow through.” – Chelsea, 02:18).
• Noted Zoran is the only politician pictured in Every Outfit merch, attesting to his pop-culture chops.

2. Miss Piggy Feature Film Announcement (04:07–06:23)

• Chelsea and Lauren wax poetic about Miss Piggy’s camp star power and discuss the upcoming Cole Escola-penned Miss Piggy film (to be produced by Emma Stone and Jennifer Lawrence).
• Chelsea: “Miss Piggy is not totally dissimilar from their portrayal of Mary Todd Lincoln–she is hedonistic, she is psychotic, she's glamorous, she's in a weird, dominant, submissive relationship with her husband.” (05:14)

3. Timothée Chalamet’s Vogue Cover Critique (06:27–13:05)

• Immediate, scathing reactions to the Chalamet Vogue cover: “It's giving AI. I know that it's not, or I believe that it's not.” (Lauren, 06:44)
• Detailed takedown of the styling (“They’ve found a way to make Michael Writer’s Celine collection look bad.” – Chelsea, 07:36), and a breakdown of the ham-fisted cross-promotional editorial decisions within the issue.
• Concerns over the “sponsored” feel and lack of thematic cohesion.
• “Just because you can doesn’t mean you should.” (Chelsea, 11:27)
• Comparison to better past male Vogue covers (e.g., Harry Styles).
• The overall conclusion: possibly the worst Vogue cover in years.

4. Interview: Alexander Fury on Fashion Curation & Costume Lore (15:50–41:12)

a. Swarovski Exhibition and Standout Pieces

• Fury describes his favorites from his curated Swarovski fashion exhibition, including rare 1930s Greta Garbo and Marlene Dietrich dresses.

• Anecdotes about obsessive collectors, particularly Larry McQueen, who spent a year re-beading a historic dress himself after experts quit.

  “He tracked down the people who originally made it... they rebeaded it for a year and then said, 'This is insane, we're not going to work on this anymore.' And taught him how to do the beading. And then he beaded the rest.”
  — Alexander Fury (17:30)

b. Hollywood Costumes and Fashion Gossip

• In-depth explanation of the Marilyn Monroe “Happy Birthday, Mr. President” dress and the drama of designer attribution (Jean Louis vs. Bob Mackie), and Marlene Dietrich's “burn book” in the American Library in Paris (“If you get out a Marlene Dietrich book from the American Library, it might have her kind of rants in the margins.” – Fury, 21:31).
• Reaction to Julia Fox’s blood-splattered Jackie O Halloween look. (“If you're gonna do that, like, couldn't you drag it a bit? You know, couldn't it be Swarovski crystal blood?” – Fury, 24:42)

c. Exhibition Drama & Fashion Show Stories

• Behind-the-scenes tales, e.g., Madonna’s Chanel look almost missing key pieces due to shipping “drama,” and the fleeting appearance of Cher (“Cher... appeared as if she was a witch or something. Because as fast as she appeared, she disappeared.” – Lauren, 29:55).

d. Spring 2026 Collections & Historical Deep Dives

• Opinions on Margiela’s mouthpiece and Versace’s cock ring pants (“I'm very pro Versace... It was really interesting. It’s an argument for the fashion show.” – Fury, 31:17).
• Mannequin trivia: Fury shares that the original Kim Cattrall mannequins (from the film Mannequin) are still sought after collectors’ items, with one remaining in a Philadelphia mall (33:10).

e. Standout Shows and References

• Praises for Versace, Prada (“I love gloves... that's a big fetish of mine.” – Fury, 34:02), and Chanel (defends the collection’s subtle codes and wades into online debates as himself).
• Discussion on branded belts trends, fashion Twitter battles, and notable deep-cuts from Chanel’s runway history.

f. Designer Musical Chairs

• Fury’s take on the designer swaps at Gucci, Valentino, Balenciaga; on Demna’s first Gucci collection (“It really is... addressing what Gucci means. And also very much looking at the Tom Ford era.” – 41:30).
• Speculation and hopes for Galliano’s future and his namesake label.
• Giorgio Armani’s legacy: “There are very few designers who have that kind of singularity of vision.” – Fury, 53:38

g. Dreams for Fashion Comebacks

• Names Emanuel Ungaro and Christian Lacroix as houses that deserve revival, reminiscing about 80s baroque excess.

5. Sex and the City Superfan Lightning Round (57:27–72:15)

a. Fury’s Fandom and SATC Deep Cuts

• Identifies most with the squirrel that burns Carrie’s legs (“That’s a rat with a cuter outfit, and that’s what I personally identify with.” – Fury, 57:38), but also Anthony Marentino for his “bitchy queen” cred.
• Best SATC season: “Season three is the best season of Sex and the City, definitively.” (58:13)
• LA episodes controversy (“Who hates the LA episodes? Those are some of the best episodes of Sex and the City ever.” – Fury, 58:59)

b. Favorite Outfits, Trivia & Archive Pieces

• Fury owns several show-worn or -referenced pieces: “I have the rings that spell out Dior across your finger that Carrie wore in LA. I bought those... when I was 15 or 16.” (63:09)
• Dives deep into costume attribution, e.g., Richard Tyler vs. Dior confusion, and the origins of iconic wardrobe pieces (60:40–61:32).

c. Sex and the City 2 & 'And Just Like That...' Debrief

• Contrasts the series and films—controversial takes about Sex and the City 2 being superior to AJLT, despite xenophobic moments (“...apart from the very xenophobic stuff... post watching And Just Like That, we were kind of like, it’s better than we remembered.” – Chelsea, 67:36)
• “And Just Like That... is the best artistic statement of what Covid felt like.” (Lauren, 69:36)
• Fury’s heartbreak about Steve’s character assassination in And Just Like That.

d. Favorite Boyfriend

• Ultimately lands on Steve, with caveats: “He is flawed. But at the same time, I’m like, he's a wonderful person.” (Lauren, 72:11)

e. Absolute Hunk Poster Origin

• Fury instantly ID's the photographer (Toby McFarlane Pond) and gives context about his editorial and Met Museum work (72:21–73:55).

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Notable Quotes & Moments

• Re: Fashion as Obsession:
  “I like crazy people. I like people who are insane like that and obsessed with things, because I can recognize it in myself.” – Fury (18:44)

• On Julia Fox’s Jackie O Costume:
  “Makes me hate it more.” – Fury, deadpan, on it being “a statement,” not a costume. (24:07)

• On Chanel Criticism:
  “Tell me what doesn't feel Chanel. I'll tell you how it is Chanel.” – 36:35

• On Demna at Gucci:
  “Clothes are actually a really small part of that because it’s about... the imagery and... choosing the people that are going to be aligned with the brand.” (44:19)

• On Sex and the City Fandom:
  “Season three is the best season of Sex and the City, definitively. Like, definitively.” – Fury, 58:13
  “That’s a rat with a cuter outfit, and that's what I personally identify with.” – Fury, 57:38

• On Fashion Archiving:
  “I have the rings that spell out Dior across your finger that Carrie wore in LA. I bought those... when I was 15 or 16.” (63:09)

• On Cher’s Visit:
  “As fast as she appeared, she disappeared. Didn’t see her exit.” – Lauren, 29:55

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Timestamps for Key Segments

• NYC Politics & Merch: 01:30–04:00
• Miss Piggy News: 04:07–06:23
• Timothée Chalamet Vogue Cover: 06:27–13:05
• Interview with Alexander Fury Begins: 15:50
• Marilyn Dress Lore: 19:37–23:12
• Swarovski Show Drama & Cher: 27:14–30:59
• SS26 Shows: 31:02–39:19
• Designer Musical Chairs: 41:12–47:16
• Armani & Legacy Houses: 50:04–57:27
• Sex and the City Fandom: 57:27–72:15
• Absolute Hunk Poster: 72:15–73:55

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Episode Vibe

Smart, irreverent, and deeply fashion-obsessed—this episode blends high-minded fashion criticism with pop-cultural banter and biting humor, all anchored by the distinctive wit and deep expertise of Alexander Fury alongside Chelsea and Lauren’s charismatic, fan-forward stewardship.

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Useful For:

• Fashion readers seeking inside baseball and lore about houses, archives, and fashion history.
• Sex and the City super fans craving deep-cut discussion and behind-the-scenes trivia.
• Listeners who enjoy sharp pop culture criticism laced with camp, references, and “only-in-fashion” anecdotes.

Transcript

[Chelsea Fairless]

Time.

[Carvana Announcer]

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[Alexander Fury]

Carvana.

[Carvana Announcer]

Pickup fees may apply.

[Alexander Fury]

Oh, the car from Carvana's here. Well, will you look at that. It's exactly what I ordered. Like, precisely. It would be crazy if there were any catches. But there aren't, right?

[Carvana Announcer]

Right. Because that's how car buying should be with Carvana. You get the car you want, choose delivery or pickup, and a week to love it or return it.

[Chelsea Fairless]

Buy your car today with Carvana.

[Carvana Announcer]

Delivery or pickup fees may apply. Limitations and exclusions may apply. See our seven day return [e-mail].

[Lauren Garone]

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

[Alexander Fury]

Great gowns, beautiful gowns.

[Chelsea Fairless]

Fashion has changed.

[Alexander Fury]

No, it hasn't.

[Lauren Garone]

Hi, my name is Lauren Garone.

[Chelsea Fairless]

And I'm Chelsea Fairless.

[Lauren Garone]

And welcome back to the Every Outfit podcast.

[Chelsea Fairless]

It has been a long week over here, but we do have things to celebrate. Firstly, we're about to be joined by Alexander Fury, which we're so excited about. And secondly, Zaran Momdami is the mayor of New York City.

[Lauren Garone]

Woo hoo.

[Chelsea Fairless]

Such a huge glow up. Especially after Eric Adams.

[Lauren Garone]

So when are we moving every outfit HQ to New York? Because I heard that what, 700,000amillion people will be moving out if. If Zoram became mayor.

[Chelsea Fairless]

The annoying thing is, you know that all those people, the day after the election, they are walking out of their houses and being like, oh, it's the same city that I've always lived in. Maybe I'm not going to move and go through all of that.

[Lauren Garone]

My favorite tweet was like, I better see your house listed on Zillow by 9:00am tomorrow.

[Chelsea Fairless]

No, truly, my biggest trigger is people threatening to move to Canada that have no follow through.

[Lauren Garone]

Oh, you mean like Alec Baldwin?

[Chelsea Fairless]

Like, don't talk about doing it if you're not actually going to do it.

[Lauren Garone]

Take a page out of Rosie OD Donald's playbook and leave the country. If you say you're going to leave the country.

[Chelsea Fairless]

Yeah, exactly. She's a real one.

[Lauren Garone]

Is her car still for sale? Remember she was trying to get rid of her car and I said we should buy it.

[Chelsea Fairless]

I have no idea. But Zeran, to my knowledge, is the only politician that has been photographed in every outfit merch. And that is what I'm looking for in a leader.

[Lauren Garone]

Yes. Can you tell me the history of this? Because you sent me. He's in the shirt. I'm a Miranda, and I'm voting for Cynthia. Which is merch that you designed for Cynthia Nixon's gubernatorial run back in 2018.

[Chelsea Fairless]

Yes. And to clarify, I did design the graphics. I did not oversee the production. They did ignore my scale and placement references.

[Lauren Garone]

These are my favorite kind of Chelsea fairless asterisks.

[Chelsea Fairless]

I did not pick that blank. But because it was Cynthia's campaign, it also had to be, like, union made. And there are all these regulations about how the. How the merch was made to make sure it was made ethically. So just some context for that. But yes, I'm stunned that he wore it because it means that at the very least he's watched Sex and the City. He knows the reference.

[Lauren Garone]

Now, do you think he's a Miranda? I think he might be a Miranda with a Samantha Rising.

[Chelsea Fairless]

Now that he's gotten this job, he should have to identify himself.

[Lauren Garone]

I know he has better things to do, but if we were ever able to get him on the Every Outfit podcast, of course we have to ask him this question. We ask all of our guests what their Sex in the City Rising sign is.

[Chelsea Fairless]

Okay. Also, in wonderful, wonderful New York news, Cola Scola is writing a new feature length Miss Piggy film that will be produced by Emma Stone and Jennifer Lawrence. Moi could not be more thrilled about this.

[Lauren Garone]

I had the privilege of sending this story to Chelsea and I know that it made her day.

[Chelsea Fairless]

Well, I'm a huge Miss Piggy fan. I've always been.

[Lauren Garone]

I would say you're the number one Miss Piggy fan.

[Chelsea Fairless]

Number one Miss Piggy fan. I mean, I think one of the greatest moments in film is that scene in the Great Muppet Caper where it's like Miss Piggy is in a fashion show, and then it descends into a sort of Busby Berkeley esque dream sequence that involves synchronized swimmers.

[Alexander Fury]

Right.

[Chelsea Fairless]

But, you know, she's been in so many movies, she's never gotten her own film, which is so needed because she's clearly the star. Sorry, Kermit.

[Lauren Garone]

This news was also broken by Jennifer Lawrence on the Las Culturistas podcast, which, you know, screw Variety, screw Deadline. This is the only place I want to get my breaking news. Totally.

[Chelsea Fairless]

Also, I'm excited about this because I think that Cole is someone that could really understand Miss Piggy's voice because Miss Piggy is not totally dissimilar from their portrayal of Mary Todd Lincoln in the sense that she is hedonistic, she is psychotic, she's glamorous, she's in, like, a weird, dominant, submissive relationship with her husband.

[Lauren Garone]

Yeah. She's not exactly clued into what's going on in the immediate.

[Chelsea Fairless]

Yeah, exactly.

[Lauren Garone]

I think this is such an exciting project because as much as films still are part of the cultural zeitgeist, it is not often that cool, transgressive artists are chosen to headline and be the minds behind big IP properties like the Muppets. And so it is exciting that Emma Stone and Jennifer Lawrence are using their power to do something cool.

[Chelsea Fairless]

I also hope that they learn from the success of Barbie and are open to making it a little bit edgier or a little bit more risque than we would have seen in the past.

[Lauren Garone]

I 100% agree. We will be the first people in line.

[Chelsea Fairless]

Also, I think it's fair to say that both of us had a very spooky start to our days today, because I woke up, I picked up my phone. At the top of my feed was Timothy Chalamet's Vogue cover. I couldn't comprehend what I was seeing.

[Lauren Garone]

Really. It's giving AI. I know that it's not, or I believe that it's not. It is.

[Chelsea Fairless]

Annie Lubovitz actually went to outer space to shoot the space stuff. And then they did a composite with the shoot that they did with Timmy in the desert. No, that actually didn't happen. I'm spreading misinformation.

[Lauren Garone]

He's on some celestial plane. Because the article title is the Universe according to Timothy. I didn't need this. The rest of the photos do not match this. I think we should stay on the COVID for a little bit before we get into the editorial.

[Chelsea Fairless]

And the thing is, I can see the thought process behind the COVID And I do believe it was the book cover of the Little Prince children's book.

[Lauren Garone]

Sure. But this is promoting his ping pong film.

[Chelsea Fairless]

It's crazy because when I'm on Instagram now, I'm constantly getting, like, updates about their new features. And it's like, look what you can do with stories. You can cut yourself out with the silhouette tool and put it on all of these crazy backgrounds or these AI generated backgrounds. And that's exactly what this looks like. Also the fact that, as Paul said, there's a slight breeze in space, like the tension between the movement and his pose and the planet that he is standing on and the cosmos swirling around in the background. It's crazy. Also, somehow, against all odds, they've found a way to make Michael Writer's Selene collection look bad. Like this outfit. Because on top it's like the white turtleneck, the coat, it's very like quiet luxury, like what a woman would wear kind of on the top. But then it's these jeans that are embroidered with flowers that are very much giving, like the summer of love on the bottom. And then these sort of 80s style boots that look vaguely like something that a boxer would wear.

[Lauren Garone]

I have a lot of questions about this photo shoot. In the article they discuss the fact that Timmy flew from France to Las Vegas to do this cover shoot. Mostly because the images on the inside of the magazine are Timmy in the middle of the Nevada desert at a land art installation called City by Michael Heiser, which evidently is only open three days a week and six people can visit it. But as the article notes, really for no reason, this part is not relevant to Timothee Chalamet at all, it says. But Heizer work will be more accessible to New York audiences come February when Gagosian mounts an exhibition of his new work. Is this a collaboration with this artist?

[Chelsea Fairless]

I think it's just cross marketing.

[Lauren Garone]

But what bizarre promo to do in the middle of a Timothee Chalamet article.

[Chelsea Fairless]

I mean, Vogue does have a history of doing this, particularly with museums that have a new renovated wing or are mounting some significant exhibition that they want to photograph an actress in front of for sure.

[Lauren Garone]

And this editorial which has him walking amongst this art piece in the Nevada desert would make sense if he was promoting Dune. But he is not. Again, he is promoting the Josh Safdie ping pong film.

[Chelsea Fairless]

Yeah, you would think this would be the Annie Leibovich shoot that is just on the streets of New York.

[Lauren Garone]

You would think it would be a nerd chic kind of editorial. I cannot make sense of the COVID to the inside editorial.

[Chelsea Fairless]

No one could. It's also a fascinating choice because if you'll remember, I think this was probably in 2022 or 2023. Timmy was on the COVID of British Vogue when Edward Enenfel was there. And it was this great cover. So great that I had to run out and randomly buy British Vogue. But they did this very tightly cropped beauty portrait of him by Steven Meisel that was so impactful and there is a lot of press around the fact that this was the first man on the COVID of Vogue in a solo capacity. I wonder if that's also the case for this issue, like, has there ever been a man on the COVID by himself?

[Lauren Garone]

Let me see. Oh, Harry Styles, right?

[Chelsea Fairless]

Okay. So not a first for them.

[Lauren Garone]

This particular Vogue issue further highlights the dire situation that publications are in. Because it really just feels like a sponsored cover. Because the image, we made fun of it, but the image of what he is standing on comes from NASA and the Hubble telescope. So it feels like NASA was like, hey, we'll give you this image to use to promote, you know, NASA and the Hubble telescope. And then Gagosian was like, hey, we're doing this exhibit with this land artist. Like, do you want access to this location?

[Chelsea Fairless]

This is a perfect example of like, just because you can doesn't mean you should.

[Lauren Garone]

Or just because these are your resources doesn't mean you should put these two random concepts together and hope for the best.

[Chelsea Fairless]

Look, there's been some bad Vogue covers that we've talked about in recent years. I would say this one, far and away by a mile, is the worst one we've seen. And I'm surprised that it wasn't flagged internally.

[Lauren Garone]

Oh, I definitely think that Chloe Moll probably sent some emails. But it has become clear that Chloe Moll's vision for print Vogue, which, if you remember the New York Times article, when she got the job, she was like, I'm going to make this more of a quarterly artistic object part, isn't happening.

[Chelsea Fairless]

Well, it's definitely not happening now. It's also. I'm confused about the placement of the feet. If you look at the image, Lauren, like, look at it. Yeah, because it's like the feet positioning is trying to match the curve of the planet, but it doesn't actually match.

[Lauren Garone]

I do wonder what came first. I wonder if the image that is on the COVID is an outtake from the Nevada desert shoot. And then they got this NASA photo and they tried to match it.

[Chelsea Fairless]

I don't think anything is ever that ad hoc when it comes to a cover. I think this was very much planned from the get go.

[Lauren Garone]

Do you think that Timmy looked at this and he was like, this is cool?

[Chelsea Fairless]

No, he's probably like, this is fucked. He knows what a good photo of him looks like. And the photos inside are cool, some of them.

[Lauren Garone]

I still think it would be better promotion for Dune Messiah when that comes out next year, but whatever.

[Chelsea Fairless]

Anyway, I'm traumatized, but we need to move on.

[Lauren Garone]

We are about to get into our interview with Alexander Fury, but I'm sure some of you are wondering when we're going to talk about Rachel Sennett's new show I Love LA or Kim Kardashian's All's Fair. Well, we do have a VIP episode that will be dropping shortly where we discuss both shows because sometimes guys, we have takes that are so hot that they need to be paywalled. But if you're curious about these thoughts, please join us on our VIP channels. That's Apple subscriptions or Patreon. On Patreon, you can get access to ad free episodes, two additional episodes a month early, access to merch drops, and Starting at our $10 level, you receive quarterly stickers and access to our live show.

[Chelsea Fairless]

And guys, we do have new merch coming out soon. There will be a pre order next week, so if that's something you're interested in, good time to join. Anyway, moving on. So I'm someone who loves a throw blanket and I've had a handful of designer ones. I've had those chic mohair ones that feel very Phoebe Philo adjacent. But now that I've experienced a Lola blanket, I'm never going back. You couldn't pay me?

[Lauren Garone]

Wow. If I had known that you were this enthusiastic about the product, I would have made you do these ads with me ages ago.

[Chelsea Fairless]

Truly, all I want in this life is to sit on my couch under my Lola blanket, ideally with a glass of wine in my hand. I am no stranger to a faux fur throw blanket. I'm someone that values comfort above everything, but this is the best one that I have found, hands down. And when I'm having a really rough day, I will move my blanket from the couch to the bedroom. I will put a weighted blanket on top of my Lola blanket and then I will become one with the faux fur.

[Lauren Garone]

Look, there's no wrong way to use your Lola blanket.

[Chelsea Fairless]

I feel your judgment. So I got a large one in Desert Dune which matches my couch. I like a monochromatic look. Personally, I'm not trying to add contrast to my living room, although you could do that. They're making some cute checkerboard ones now. Which one did you end up getting?

[Lauren Garone]

I got the large one that is in blue which matches my bedspread and it is a favorite place for Morty to do his tummy time.

[Chelsea Fairless]

I do want to get one that's like permanently in the bedroom. What is our discount code again?

[Lauren Garone]

Well, I'm about to tell you. Give the gift of softness this holiday season with Lola blankets for a limited time. Our listeners are getting a huge 40% off their entire order at Lola blankets.com by using code outfit at checkout. Just head to lolablankets.com and use code outfit for 40% off. After you purchase, they will ask you where you heard about them. Please support our show and tell them we sent you.

[Chelsea Fairless]

Today we have a very special guest. He is the fashion features director for another magazine and the men's fashion critic at the Financial Times. He is also a curator, an author, a fashion collector, and a crazed Sex and the City fan. Welcome back to the show, Alexander Furey.

[Alexander Fury]

Thank you for having me.

[Lauren Garone]

Alexander, it's so great to have you here in Los Angeles. You are normally based in London, but you are here this week because you curated a fashion exhibition for Swarovski, which we talked about on last week's podcast. What were some of your favorite pieces? We talked about ours, but we would love to know what your favorite pieces were.

[Alexander Fury]

I think my favorite pieces, I think overlapped with yours. I like the kind of the Lesbian Centric 1930s Content of the Gwenta Garbo and the Marlene Dietrich dresses, just because I didn't believe that they still existed. So when I found out that they did, they were kind of like, oh, we've got got to get them in. And you know, it was amazing to have the Marilyn Monroe dress which came from Florida. She, she lives in Florida. She doesn't fly. So they trucked her across the country and it was kind of on tenterhooks if she was going to arrive in time and all this kind of stuff. But yeah, she was trucked across the country and getting the Galliano and Daphne Guinness Chanel that I hadn't carried. And, you know, it was a really great bunch of pieces. But I think that, yeah, the two 1930s dresses were the ones that for me were like, oh, wow, I can't believe these exist.

[Chelsea Fairless]

I need that mink trimmed Marlene and Dietrich one. I wish I was wearing it now.

[Lauren Garone]

Was that the piece that you were telling us that someone bought it? It was completely in tatters. And this person tracked down the people who had constructed the piece originally.

[Alexander Fury]

Yes, I think they were Western embroidery. I can't remember what exactly they're called. But the guy that owns it is an amazing collector called Larry McQueen who has other amazing costumes I was looking through. And you know, he has like Joan Crawford costumes. He's got Elizabeth Taylor Cleopatra costumes and Theda Barra Cleopatra costumes. But yeah, so he tracked down the people that originally made it who re beaded it for a year and then said, this is insane. We're not going to work on this anymore and taught him how to do the beading. And then he carried on and beaded the rest. So, you know, I can kind of recognize the insanity of myself in him as well. So we had quite a nice sort of thing of talking about spending all of our money on. On women's clothes for our respective collections. But it was nice also, because that was. You know, he put all of the hours into remaking that one. And he said that Greta Garbo was the first one that he ever collected. Like, randomly saw it at an auction and was like, well, this is amazing. And then apparently, they had a woman modeling it at this auction, and she was wearing it back to front and apparently kept kicking the skirt because it was so heavy, like, kicking it out of her way, and all the beads were falling off it.

[Lauren Garone]

He was just on his knees collecting the beads as they were falling off.

[Alexander Fury]

Well, when we installed the costume, so he. It took, like, five of us to install that Greta Garbo costume because it weighed so much. And then he sent me an email, like, the day after being like, I noticed some beads were falling off. So I went and got my Greta Garbo beads and my 1930s thread. Can I come back and sew them back on? Because they're going to drive me nuts. And I was like, yeah, yeah, come back in. So, you know, I was walking through kind of the prep one day, and he was just kind of crouching there, sewing these beads back, on, which, you know, that's what I like. I like crazy people. I like people who are insane like that and obsessed with things, because I can recognize it in myself. That's why I like you, too, because you're obsessed with Sex and the City.

[Chelsea Fairless]

See, we may need this man's contact information.

[Alexander Fury]

Yeah, yeah, yeah.

[Chelsea Fairless]

He sounds incredible. I'm curious about the Marilyn Monroe dress because it's attributed to two different designers. Can you explain how that came to be?

[Alexander Fury]

Technically, it is Jean Louis who is this kind of Hollywood costume designer. I know him again because I am a homosexual of a certain age. He is more kind of notable for me because he made Marlene Dietrich's naked dresses that she wore for the Vegas shows in the 1940s. Well, starting in the 40s through the 50s. And Marlene Dietrich obviously hated Marilyn Monroe because she hated everybody, but hated Marilyn Monroe and said that Jean Louis copied her dresses for Marilyn Monroe, which is technically true, because it's made out of the same fabric and it's the same concept and dyed to the skin everything that she had. But Dietrich's were much more kind of engineered and covered a lot more while appearing to reveal a lot more. So Jean Louis was the designer, but his assistant was Bob Mackie. And so Bob Mackie, you know, was involved in, I think more in the construction of the dress, but also he did the sketches for the dress, which are normally displayed alongside it. So that's why it's attributed to two different designers. Although I technically think it's more Jean Louis. And then also Marlene Dietrich hated Bob Mackie and hated Cher because she said that they ripped her off. I mean, to go on a complete divergence is an amazing thing in the American Library in Paris that when Marlene Dietrich died, all of her books got donated there. Her grandson said, can we donate these books to you? And the library said, yeah. And then about two hours later, a dump truck turned up with like 3,000 books. And if you find these books in the American Library, they have all of Marlene Dietrich's like writing in Colin, Marilyn Monroe a slut, and a lot of writing about kind of in biographies of herself saying, wrong, wrong, you know, this isn't true. So yeah, if you get out kind of a Marlene Dietrich book from the American Library in Paris, it might have her kind of rants in the margins.

[Lauren Garone]

Old Harlem, Hollywood's number one hater.

[Chelsea Fairless]

Yeah, I love that. It's like her burn book or something.

[Alexander Fury]

Exactly.

[Chelsea Fairless]

About Marette.

[Lauren Garone]

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[Chelsea Fairless]

So that dress, it lives at the Ripley's in Orlando?

[Lauren Garone]

Yes, Apparently I do love who you were. Like, it's in Florida. Ripley's Believe it or not in Orlando, Florida.

[Alexander Fury]

We also got very confused because there's obviously a Ripley's here. And everyone was like, it's just down the road. It's really. And then during this kind of negotiation of getting it, we realized, oh, no, it's thousands of miles across the country and she's going to have to be trucked here.

[Lauren Garone]

To be fair, it should be at the Ripley's Believe it or not, on the corner of Highland and Hollywood Boulevard where she belongs.

[Chelsea Fairless]

Since we're on the topic of Maryland, I was curious to know your thoughts, and I'm curious to know your thoughts, Lauren, about Julia Fox's Jackie O Halloween costume.

[Lauren Garone]

Her blood splattered Jackie O pink suit, tasteless or fab?

[Alexander Fury]

I don't want to be horrible, but, you know, I feel like, isn't that kind of a costume trope?

[Lauren Garone]

Here's the confusing thing, Alexander. According to Julia Fox, it's not a costume, it's a statement.

[Alexander Fury]

Makes me hate it more.

[Lauren Garone]

It also feels like a preemptive statement of like, I know I'm going to catch flack for this, so let me try to make it a movement more than a tasteless piece of costuming.

[Chelsea Fairless]

It's truly an Instagram caption from someone that knows they're about to get canceled because of whatever they're posting, which I do find to be fascinating.

[Lauren Garone]

Well, she does say when her husband was assassinated, she refused to change out of her blood stained clothes, saying, I want them to see what they've done. The image of the delicate pink suit splattered with blood is one of the most haunting juxtapositions in modern history. Beauty and horror, pose and devastation.

[Alexander Fury]

It's kind of like a Halloween trope of something with blood on it. You know, like prom queen with blood on. Or, you know, cheerleader with blood on. If you're gonna do that, like, couldn't you drag it a bit? You know, couldn't it be Swarovski crystal blood? You know, not as a plug, but I'm just like, you know, could you.

[Chelsea Fairless]

Like, look at you doing spawn on our podcast. I love that.

[Alexander Fury]

Why not just push it? Because for me, just, like, splattering fake blood over something, it's kind of lazy. It's like, oh, I don't have a Halloween costume. I'll just spray fake blood on myself. And that's enough as, like, a Halloween costume.

[Lauren Garone]

It wasn't pushed enough to a campy place.

[Alexander Fury]

Obviously, because of me, it's like, oh, this button is wrong. It's that, you know, Also, I'm like, I want it to be a precise, like, line. For line reproduction. You've got to get the hair right.

[Lauren Garone]

Something tells me you're going to have thoughts on the handbag.

[Alexander Fury]

She's scary. You know, it's just like, you want. It's not bad, actually, because it's not like the Marge Simpson Chanel suit or something. It is actually accurate to what it was. It has to be like, replica. Buy a vintage one. Do it. You know, actually, because they do exist.

[Chelsea Fairless]

See, for me, I think it's a good costume, but I think that she's too famous to wear that costume in the sense that for just a regular girl, that's. The image isn't going to be disseminated all over the Internet. Like, that would be a good Halloween costume if I saw someone wearing it. But because she's famous, we know it's going to make news. We know that Caroline is going to see it or hear about it. For that reason, I think it's in poor taste. Although she does look fab. Like, it is Halloween for me.

[Alexander Fury]

It's a bit like doing Audrey Hepburn in Breakfast at Tiffany's as a costume. It's really basic. You know, I'm like. Or like, almost like doing Marie Antoinette as a costume. I'm just like. It's like, oh, come on, can we not dig a bit deeper and do something? You know, I mean, not for the kind of. I don't know if this is better, but I'm like, you know, do Jay Mansfield. Like, you know, you could. You. You know, you could kind of do something that's kind of. Oh, that's clever and pop cultural. And I do know what it is, but it's not so kind of out of a bag from Amazon.

[Lauren Garone]

Not that this is what you were suggesting, but when you said Jayne Mansfield, I was like, so, dude decapitated you.

[Alexander Fury]

That was what I was.

[Chelsea Fairless]

But think about Mariska again. Julia Foster Fox, too famous for this. If a random girl wants to be Jane Mansfield, Yeah, I love it.

[Lauren Garone]

This has already been done. Like, Rose McGowan dressed up as Jackie O for Marilyn Manson's Coma White video when they were dating and he was jfk.

[Alexander Fury]

Yeah.

[Lauren Garone]

More my issue is, and I don't know how this would visually look, but I felt like she needed JFK with her. Like, you gotta do it as a couple's costume.

[Alexander Fury]

Yeah.

[Lauren Garone]

So back to the exhibition. You're amongst friends. Was there any behind the scenes drama?

[Alexander Fury]

Part of the Christian. The quad dress got left in Paris.

[Lauren Garone]

Oh.

[Alexander Fury]

By mistake. So then we had to have someone bring it from Paris. So I was having a nervous breakdown about that.

[Lauren Garone]

How does that get left in Paris?

[Alexander Fury]

It was a very big box for a very big dress. And the headpiece and the sleeves were sold separately and came and actually had a separate valuation and everything for insurance. But that part didn't get put in with the dress. So when the dress was unpacked, I was completely freaking out and wondering where it was and if somehow it had been lost in trance or something like that. And then we found out from the team in Paris that it just. They hadn't put it in by mistake. So then luckily we had someone flying from Paris so they could hand carry it because it wouldn't have arrived in time.

[Chelsea Fairless]

And that was the look that was worn by Madonna in W magazine, styled by Arianne Phillips, who I saw you talking to at the opening. What was that like?

[Alexander Fury]

I mean, it was nice because she came with Sandy Powell and the Arianne Phillips Madonna dress was next to a Sandy Powell dress because everything was kind of of paired up for like visual dialogues. So it was really nice that they came together. Their pieces were together. I didn't know they were friends. So it was very nice that that's, you know, that they saw the pieces together and Ariane was, was telling me kind of stories about it and I was saying, oh, I was wondering where this piece was. And she's like, oh, that's in Madonna's archive. So it was, you know, it's nice to talk to someone who was part of that kind of pop culture moment, but then also was just kind of fabulous and full of knowledge and is working on amazing films now. She just worked on Vogue World, I think she was the overall sort of coordinator of the costume section and was pulling in the different kind of costume designers to work on it. So she was really fabulous to get in touch with. And now we're sending each other like Instagram DMs, which is quite nice.

[Chelsea Fairless]

Incredible. We worship her. Of course. It is sad though, that Cher came to the opening and you completely missed her.

[Alexander Fury]

That was a Devastating blow to my.

[Chelsea Fairless]

Life and career as a homosexual curator.

[Alexander Fury]

But I saw many. You documented it for me, which I'm very grateful for. I think everybody else saw Cher. I was the only person that didn't because I was doing an interview at the time, like up in a kind of random room. But yeah, no, it was nice to have Cher in front of her dress from the Cher show, which was, you know, it was all about getting that picture of Cher. So it was just about kind of Cher's presence for that kind of split second of that photograph. And then she could go off and do kind of her fabulous things with her, as we've all said, very attractive, much younger boyfriend.

[Lauren Garone]

She appeared as if she was a witch or something. Because it's like as fast as she appeared, she disappeared. Didn't see her exit.

[Chelsea Fairless]

You say witch in a non derogatory way.

[Lauren Garone]

Oh, no.

[Alexander Fury]

Witches of Eastwick. It's like, you know, it's very.

[Chelsea Fairless]

Oh, yeah, it's true. God. I'm still thinking about her hair in the Witches of Eastwick. The volume of it. So incredible.

[Lauren Garone]

Her hair that night, just to rub.

[Alexander Fury]

It in even more that I didn't.

[Lauren Garone]

See that beautiful hair. Luminous.

[Alexander Fury]

I saw the documentary pictures of this moment, and she did look wonderful. She's also the only person I've ever taken a picture of at a fashion show as like a frenzied fan of, like thronging around celebrities. She's the only person I've ever thronged for. She went to a Balmar show a few years ago. It was like she went to maybe Rick Owens and definitely Gareth Pugh. She was at like three completely random fashion shows. And I took not the Balmain show she performed at later, but a Balmain show she was attending as a audience member. And that's when I took a picture.

[Chelsea Fairless]

Of her random shows. But also, like, kind of gothic. Yeah, she's nothing if not consistent.

[Alexander Fury]

Like gothic and blingy. Very Cher.

[Chelsea Fairless]

I would love to pivot to the spring 2026 collections. Let's just say that you're walking to your neighborhood coffee shop. Would you rather wear the Margiela 4 stitch mouthpiece or the Versace cock ring pants with the tank top with your nipples out?

[Alexander Fury]

Oh, so you added improvisers then. I'm not sure that I would do that. Nipples out. But I'm very pro Versace. I am on the pro Versace side. I thought what Kathy Horan wrote about it was really fantastic where she kind of said after the first six outfits, she wondered why Versace was going down market. Then after the next 10 outfits, she was interested. And then after 20 outfits, she wondered where Dario Vitali had been all of her life. And that was exactly my experience of watching that show with the people around me where we were kind of going. And then halfway through, we're like, this is good. This is good. They were like, this is really good.

[Lauren Garone]

It was a rough opening look.

[Alexander Fury]

There was also, like, at some point, camouflage trousers. And that was when I remember I went, oh. But then later on, you know, as it kept building really, I thought it was really interesting. It's also like an interesting sort of argument for the fashion show because, like, watching that, I think your perception of it changed all the way through the show. It kind of built on and it really sort of hammered home what he wanted to do.

[Lauren Garone]

And I think it's a good argument for having 70 plus looks, which I usually dislike at a fashion show.

[Alexander Fury]

Yeah, yeah. You know, you don't only see these things. You then re see these things. So I saw the show in Milan, and then I saw the re see in Paris where I got quite paralytically drunk accidentally at this re see, which was really, really great with a bunch of friends.

[Lauren Garone]

Did you make off with some of the clothing?

[Alexander Fury]

No.

[Lauren Garone]

You probably ordered some.

[Alexander Fury]

But it was nice to look at the clothes and realize, you know, that it's great and it's stuff that I do want to wear. But also I loved that they had. The mannequins were really weird. And they were reproductions of Gianni Versace mannequins from the 80s. And then obviously, because I was drunk, I started talking about mannequin, the Kim Cattrall film, and about the pre. You know, one of those mannequins still exists in like a mall in Philadelphia. I'm sure you guys know this.

[Chelsea Fairless]

I actually don't know what happened to the Kim Cattrall mannequins. And it really is something that we should. Should be investigating.

[Alexander Fury]

There is one that still exists, and they say apparently like three or four times a week, someone comes in and offers to buy it because it's in this. I'll dig it out. There's a cut article about specifically about this that I've obviously committed to memory. And yeah, it's in some random store in a mall in Philadelphia. Cause that's where they filmed it. They made like eight of them, but only one of them seems to have survived. So she's in the mall in Philadelphia.

[Lauren Garone]

I don't know. It seems like we need to talk to your friend who has all the Marlene Dietrich. It feels like he might, he might.

[Alexander Fury]

Just randomly have one of these mannequins. He does have a special Marlene Dietrich mannequin for the Marlene Dietrich dress that was specially made for. It has a little sculpted hairdo.

[Chelsea Fairless]

So apart from Versace, what shows were you the most excited by and which fashion houses do you think had the biggest glow up?

[Alexander Fury]

Well, yeah, I loved Versace. I loved Prada and I loved. I saw Carla Welch in Paris and I kind of remember how we ended up talking about Prada and she's like, well, obviously I'm getting the green dress. She's like, I was sending pictures of the green dress during the show of like, I want this for Sarah Paulson. And then Sarah Paulson has just worn it and looked amazing in it. So I, I loved Prada because I also love gloves. That's like a big fetish of mine. It's definitely. I have like 30 pairs of gloves.

[Lauren Garone]

I also collect gloves. When I was in Florence last year, I went to a leather shop and got gloves. I aspire to be someone who can wear gloves every day or on casual basis. I can't make it work.

[Chelsea Fairless]

Copy those first two Prada looks. You just gotta get something ideally Prada or looks like workwear or something. And then you just get those elbow length colored gloves from Prada and an.

[Alexander Fury]

Earring that costs more than your house. And Also, you know, Mrs. Prada wears those gloves, which I always love. And whenever I see her wearing these gloves, I end up talking to her about, you know, about my glove fetish and how much I love them. So she wears like, you know, armpit length ostrich gloves with a sleeveless coat. And it's, it's absolutely what I want to look like.

[Chelsea Fairless]

Because she of course is not like addicted to smartphones.

[Alexander Fury]

No, no, no.

[Chelsea Fairless]

Everyone else so she can wear those gloves.

[Alexander Fury]

Exactly.

[Lauren Garone]

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[Alexander Fury]

I loved Chanel. I was also very interested in the kind of conversations around it. And I got very kind of aggressive in the conversations around it when people were saying like, oh, this doesn't feel very Chanel. And I'm like, tell me what doesn't feel Chanel. I'll tell you how it is Chanel. Because there were lots of like, very kind of deep cuts into references of Chanel in that, you know, things like that you saw the linings inside the skirts that were matching the linings inside the jacket that were matching kind of the actual fabric of the tops or the shirts, which is like this really old kind of Chanel reference.

[Lauren Garone]

Do you participate in fashion Twitter? Because I can imagine you going crazy fact checking people that have no fashion history that are just like, it doesn't speak to the house codes of Chanel. And you're like, excuse me.

[Alexander Fury]

I did wade into comments on the business of fashion Instagram, where I was just like, okay, let's. I don't know why I decided to do that, but I decided on that night that I was going to do it. And I was riding around with the other people from another magazine and they were literally, they were all like cheering me on. And I'm like, no, you shouldn't be encouraging this. It's going to be the next, like, you know, 36 hours will be me replying to these Instagram comments.

[Lauren Garone]

Now, do you use a pseudonym on business offense?

[Alexander Fury]

Oh, no, no, no. It was just me. I was just wading in as me. But even things like, you know, I like that some people were criticizing using the kind of flowers that look like dahlias. And I was like, yeah, but when Carl did his first collection, he didn't use the camellias. He used a kind of cotton pique flower that looked like a four leaf clover rather than a camellia. So I felt like that was a reference and then being able to see the big kind of underpants hanging out of things.

[Lauren Garone]

Right?

[Alexander Fury]

Because that was like, obviously a reference. To Chanel using underwear jersey, but then also to Carl doing the wife runts that were based on Calvin Klein y fronts in 1993. And then the fact that Machia Blasi's grandfather worked in an underwear factory. So it was this kind of thing of like the three ages of Chanel. But also, I think, even without all of that, I thought it was a great collection. Backstage afterwards, Mathia said the thing that I think has gone everywhere saying that skirt at the end, they were calling it the pina colada skirt for him. It was based on Bouquets in 17th century Flemish paintings, but his team called it pina colada. And I loved those kind of pina colada skirts with the Charvet Chanel shirts. I was just like, that looks like such a great way to dress. And it's also very chanel in the 30s when she was doing kind of her sort of degage gypsy look.

[Lauren Garone]

So it's safe to say you might be purchasing some of this collection for the archive.

[Alexander Fury]

Yes. There's actually a shirt and a long, black kind of flamenco skirt. Very simple. Not the big embroidered thing. And then I want to buy the shirt to wear myself. Myself as two distinct entities. One to go in a clothes carrier and never be worn, and then one for me to wear until it falls apart.

[Lauren Garone]

Are you usually a, like, one for the archive, one for me Purchaser or this is a special collection.

[Alexander Fury]

I need to start to be more of that because it's like I bought the miu miu little cropped shirts that were like. I bought them for me because I have a cropped body. So cropped shirts work well on me. But now when I look at them, they're kind of, you know, the colors fading out of the blue one. And I'm like, like, oh, really? This should be in there with the. Because I bought the sweater also for me to wear, and I bought the skirt not for me to wear. But now it's like I've kind of worn the rest of the look, so. As in worn out the rest of the look because I wear it so much. So now I feel like I need to stop buying multiples.

[Lauren Garone]

Do you also relate to the Simpsons episode where Marge finds the Chanel suit in the thrift store? You referenced this earlier, but I feel like that is my life.

[Alexander Fury]

Yeah, yeah, yeah, yeah. And I very much relate to then the fact that she spends the entire family savings on a Chanel ball gown. I'm like, that's very me. Like, just to be like, yeah, you know, who needs College. Who needs a liver transplant. Let's buy Chanel.

[Chelsea Fairless]

The Carrie Bradshaw jumped out.

[Alexander Fury]

Yes.

[Chelsea Fairless]

I'm curious what your thoughts are on these heavily branded statement belts that came out last season. We saw them a lot at Celine, at Dior. Are you participating in this? Do you support this?

[Alexander Fury]

I love the Celine one. It looks like kind of hubcaps off a car. And it also looks like they. They've prized all the hardware off those old horrible Michael Kors Celine bags and made them look great. And it's going back to Sarah Paulson. She's just, she's just worn this and I think it looks really great. I'm not sure how it would look on me. I do love a belt, so maybe we'll see and I want to at least try it. But I was also with the. I saw some people from Celine in a kind of professional capacity and then in a very unprofessional capacity was like, so when are the belts going online? Like, I was like, I was on your website today, November. I was told, sold. So any minute now. And I love the Dior ones as well. Actually.

[Chelsea Fairless]

I'm curious what you think about this. I find it insane that Gucci, Valentino, Balenciaga, they just all swapped designers within those three brands. Do you think that this has positive or negative long term implications for those.

[Lauren Garone]

Brands and also the fashion ecosystem at large?

[Alexander Fury]

It's kind of an exceptional instance. The only other time I can think of something similar to that was when Galliano went into Givenchy and then got moved to Dior. But that was very much a game plan of this is this is what we're going to do with this designer. The strange thing with this is it. I don't feel like it was planned at all. Someone was going to move from Gucci to Valentino and then, you know, I feel like that was, you know, that that move was obviously the first one. But I don't feel like it's some kind of shuffling of all of these designers intentionally. The thing that I think is now interesting is to see how they can plug their different aesthetics into those different houses. And that is something that I find very interesting with Demna going into Gucci. I think it's very interesting what we've seen so far, which doesn't feel like, you know, there is a sense of what he did at Balenciaga and at Vetmore. You have a feeling of that, but I don't feel like it's just that style transposed to Gucci. I feel like it really is. Is addressing what Gucci means. And also very much looking at the kind of Tom Ford era because I went to the. The kind of cinema presentation and I'd seen the clothes and everything. But then I actually, I was really curious to go and see it in the shop because they did this thing in 10 different stores in the world where they did a kind of an installation, you know, change the decor of the store and then put the pieces there to buy for. I think a two week period. Thought it looked really great. I also thought the prices were right for where it should be hitting. And it was really interesting to go in and see that those kind of retail spaces transformed into some kind of different feeling. And I did like that they'd revived the Tom Ford Gucci label, which was something that, you know, I remember seeing when I was a kid. So I have this kind of hit of nostalgia from seeing it again. Really felt like it was him kind of melding in with what Gucci represents. And what Gucci represents to a lot of people is Tom Ford. I still think there's that kind of, you know, those are still seen as the kind of golden years of Gucci. So it's quite nice that it was referencing that as opposed to some sort of random 60s moment that no one really remembers.

[Chelsea Fairless]

Yeah, I went into the Gucci store yesterday because I wanted to see that stuff, but of course they had already removed the installation, although they had a couple things in the back room that they brought out. So I did see like one blazer, a couple of those, like sheer silk shirts, a couple of the Jackie bags. And yeah, I thought it looked beautiful.

[Lauren Garone]

It's gonna be fascinating, particularly for Gucci, how they're going to. On Alessandro Micheli, the stores.

[Alexander Fury]

Yes.

[Chelsea Fairless]

Yeah, they got to get rid of those tigers in those Chesterfield sofas.

[Lauren Garone]

Well, also because in the Beverly Hills store they have the restaurant, which was like a brainchild of Alessandra Michelli. So, like, you know, I have no context for Demna's idea of. Of a restaurant.

[Chelsea Fairless]

It's like the menu, they just murder you at the end.

[Alexander Fury]

The thing is, he will have an idea. That's the thing. You know, he's a creator, he's a real creative director in terms of there's this kind of 360 vision. And I think that is. Is something that's going into a house like that that's so big. And it's a weird thing for me to say because I'm obsessed with fashion, but the clothes are actually a really small part of that because it's about. Okay, here's the imagery and here's this. And. And even the people, you know, choosing the people that are going to be aligned with the brand as part of a kind of creative director strategy of this is what my perception of this company is. And actually designing the clothes is a really small part of that. And I think, you know, it's something he did really brilliantly at Balenciaga. You know, he kind of remade it in his own image. And I think what's really interesting is him coming into Gucci, obviously bringing some of that, but already it feels like it's a different sensibility. It's not okay. Of a rehash of what he did. So I'm really interested. They're also very much. Whenever you speak with people at Gucci, it's very much that this is almost like the kind of statement of intent or, you know, this is the kind of prequel. Whereas February will be the big reset. February's the moment when it's really about his vision for the house and we.

[Chelsea Fairless]

Can'T wait to see it. I'm curious, in the game of designer musical chairs that is happening right now, Galliano still without a chair, so to speak, what do you think is going to happen with him and what is your dream scenario?

[Alexander Fury]

Dream scenario for him? And the thing that, to me makes most sense, but I also have the least kind of commercial mind in the world, would be that they would reinstall him at Galliano and that he could, you know, just kind of do what he did at Margiela, which is, you know, kind of do a fashion show when he felt ready to do a fashion show and had something amazing to say, as opposed to feeling like he has to post bump things out. And then also being able to re own all of those kind of Galliano isms that people are so obsessed with at the moment. You know, kind of the choker necklaces, the bias cut dresses, all of that tailoring that, you know, you see people spending so much money on buying them vintage. You know, as someone that collects it, I've had to kind of pause on collecting because it's like I don't have $10,000 to pay for a kind of of Dior pearl choker. The prices of everything have gone kind of astronomically high, and they're amazing clothes, so it should be super high. But I think if he was making those clothes again under the Galliano label, it would be interesting because they'd have a kind of legitimacy. I'd still want to buy a choker if it was a Galliano label choker made today. I think there would still be that kind of pull of kind of authenticity to it. He always wanted Galliano to be a couture house. He always wanted to produce haute couture under the Galliano label. And you know, it would be really bold for someone to set him up to do that and to with kind of the understanding of this is never going to make a huge amount of money. It's not going to be a multi billion dollar brand. But it can be this thing that's kind of an amazing creative expression of someone who's an incredible designer.

[Chelsea Fairless]

Well, let's put that out into the universe.

[Alexander Fury]

You know, I've been putting it out, I've been saying it a lot. I will say this, you know, a few years ago I went on the Instagram of the House of Galliano and it was having, you know, it was kind of of these really sort of horrible newspaper print things that were obviously made for a certain market, but then they were mixing it in with pieces they'd borrowed from the archives. It was this horrible like jersey newspaper print leggings worn with like a jacket from the Susie SPhinx show from 1997. And you know, it broke my heart when I was like, this is like the most amazing thing that I would, you know, kill multiple members of my family to have. And it's being worn with these really horrible leggings and really horrible trainers which are, you know, being produced in his name with no kind of input from him. I thought it was really sad. So I think it's either you want to kind of shoot the horse or revive it and let it flourish in the way that it should with that amazing name attached to it.

[Chelsea Fairless]

The holidays are upon us yet again. I always want to spoil my friends and my family and get them really fabulous presents. But I also don't want to be financially irresponsible, which is where the real real comes in. The RealReal is the most trusted name in authenticated luxury resale at up to 90% off. You can give or get the pieces from the brands you love, like Prada, Pucci, Gucci.

[Lauren Garone]

We do love those Italians.

[Chelsea Fairless]

Lauren actually did buy me a gift on the RealReal ones.

[Lauren Garone]

Indeed. Your 40th birthday present was an Olympia Latan clutch. Chelsea has been coveting an Olympia Latan clutch forever. I scoured and I finally found the perfect one for 90 off. It looks like a book. I know Chelsea loves it because it is displayed on her beautiful bookcase.

[Chelsea Fairless]

It is truly a prized possession. I often shop for my wife on the RealReal. I got her really beautiful vintage Thierry Mugler suit recently. And if you love designers like Mugler Claude Montana, there are incredible menswear pieces on the RealReal. I think it's quite slept on actually. Also, I was shocked to learn that they drop over 10,000 new designer items a day. Like, how is that possible?

[Lauren Garone]

That would explain the scary amount of time that you spend on the RealReal app. Anyway, the RealReal is the world's largest and most trusted resource for authenticated luxury resale with thousands of pre loved luxury arrivals daily. No one does resale like the RealReal and no one makes the holiday shine brighter than the RealReal. And now get $25 off your first purchase when you go to therealreal.com office outfit, that's therealreal.com outfit to get your $25 off. Start shopping now at therealreal.com outfit. I would love to get your take on who do you think should take over at Armani or should it stay in house with the design team?

[Alexander Fury]

Slightly before Armani died, I started to get interested in vintage Armani and was looking for it online. It's really difficult to find good vintage Armani, I presume because people either gave it to Goodwill or something and you know, and no one knew anything better about it or people wore it until.

[Lauren Garone]

It fell apart or it's still in people's closets.

[Alexander Fury]

I mean that's a possibility. But the 80s, the stuff that I love is the 80s stuff and the shoulders are pretty kind of ferocious. I kind of got interested in that and then now I feel like maybe there's going to be more of a run on that and it's going to become more popular and maybe we'll see more of it out. In terms of a legacy and that kind of heritage, it's really amazing. There was an Armani exhibition in Milan off the back of the show. It was kind of the last thing that Mr. Armani did because he curated it himself. And very weirdly for Armani, it actually went back and did have stuff from the 80s because he normally only focuses on very recent stuff. He doesn't want to talk about the past. But it had the, the outfit from American Gigolo, it had some stuff from the kind of 80s through to the early 90s and a of lot looked absolutely amazing and it really scrambled your perception of time. You couldn't tell when anything was from. You know, there was something that looked like it was from the 80s and it was literally from like three years ago.

[Lauren Garone]

Right.

[Alexander Fury]

I feel like he selected the best pieces, which sometimes a designer doesn't do. I feel like a designer looking at their own work. They don't always select the things that kind of work best in the public eye. It's more what they feel is expressive of what they're feeling at any one moment. That said, you know, I think lots of different people could go in. I do think people are talking about Eddie going in and doing it. And I think going into house like Armani, with that legacy, it's something that he would probably take from. In the same way that when he was at St. Laurent, you know, he took a lot from St. Laurent's legacy. Kim Jones could do something amazing that I think there's so many kind of different designers. I. I wouldn't see Galliano going in and doing it. But, you know, it is also, when you think about it, it's this amazing house that has menswear, womenswear, and couture. So for any designer to go in, there's these kind of amazing, different sort of creative expressions. It's got such a massive history, but also there's such a kind of specific culture in that company. They're used to working with one person who's the boss of everything, and that's necessarily going to change.

[Lauren Garone]

Well, also, if you're reading Lauren Sherman's newsletter for Puck, there seems to be behind the scenes issues with potentially a sale of Armani.

[Alexander Fury]

Yeah, you know, it was in his will that he wants it to be sold, saying it needs to be sold to one of, you know, l' Oreal or LVMA or you list it publicly. You know, it is kind of amazing that he was exerting that kind of control even from beyond the grave. The last time I interviewed him, I asked what his weakness was, and he said his greatest weakness was his need to control everything. I saw him working sometimes, and him working was amazing because he. No one else did anything. He did everything. And one of the makeup artists on the show, Linda Cantello, said to me, you know, he does something to every model's makeup. Like, he would put makeup on every model, like, kind of to have kind of an ownership of them. And when I saw him backstage, it was literally all of his assistants on one side, all the models on the other side, and Armani in the middle. And he would be like, where are some scissors? He was taking stuff off the models. He was styling it all himself, reworking everything. You know, he did everything himself. And it's kind of, you know, whether you like the show or whether you didn't. It was exactly what he wanted it to be. And there's something kind of amazing. There's very few designers who have that kind of singularity of vision. But what it leaves in a, in a company like that is a vacuum of like, who's going to come in and take over this thing of like, who's going to rule everything? Who's going to be the autocrats?

[Chelsea Fairless]

Well, it's certainly an insane job for anyone to get and it's going to be exciting to see who ends up there. But I want to know, of all of these historic luxury houses, which one would you like to have a major comeback that is currently flailing or non existent?

[Lauren Garone]

I think what Chelsea's trying to ask is, do you want to see Lindsay Lohan back as designer?

[Alexander Fury]

I was literally about to say un', garo, like because I love like 80s ungaro is like the best. And I also remember going to the Lindsay Lohan Ungaro show and I've been looking back at it and I'm like, oh, this actually wasn't that bad. Yeah, I wrote one of the worst things I've ever written about anything about the un' Garo show, which I'm still.

[Lauren Garone]

Proud of in a mean spirited way.

[Alexander Fury]

Now, Emmanuel Ungaro was still alive at that point. He's now passed away. But I said Emmanuel Longara must wish he were dead, just so he had a grave to turn over in.

[Lauren Garone]

I mean it's a great turn of fridge.

[Alexander Fury]

I was very, very happy. I'm still very proud of it. But with, you know, I remember being at that and I actually remember one of my dear friends, Susannah Frankel, who's the editor in chief of another magazine, was there as well. And I was sat. It was at the Carrousel du Louvre in the really old show space that nobody shows in anymore. And even then nobody really showed in unless you were dirt poor and you know, like John Charles de Castlebajak showed, it was like bad shows happened in the Louvre and I was, you know, maybe fourth or fifth row and Susanna was front row in the very middle and I, the whole time, the whole way through the show she just had her hand over her mouth in like horror. But no, I look at it now and I'm like, it's not that bad. Like, you know, it's got some kind of redeeming points. It's like, you know, who doesn't love heart shaped pasties?

[Chelsea Fairless]

You're trying to find them for the archive.

[Alexander Fury]

It could be worse. It could be worse. But then when you look at Un' Garo in the 80s and in the 90s, it's so, like, in completely insane. There's an amazing. There's amazing footage of this Ungaro show of, like, Polymelon screaming and, like, applauding the whole way through this. I think she stands up and it is kind of an incredibly obnoxious show where the bride is. Has so many ruffles on she can barely move. It's like full kind of quinceanera chic. But, you know, I think I kind of like that. And then sometimes you see people wearing vintage Ongara, very brave people wearing, like, vintage Ongara suits with, you know, huge shoulders, and they look amazing. So I'd say Ungaro or Christian Lacroix is the other one that obviously I would love to see revived in some way with, ideally with Christian Lacroix involved, even though I don't know if he would want to do it again. But it's, you know, it's because what he's doing as kind of opera and theater costumes are so amazing. But, you know, whenever I've done one of these exhibitions, I've. I've got a Lacroix piece because it's something that I love. And I also love when you have it, then people react to it. There's so many, you know, Lauren Sherman wrote about it and was like, go see this exhibition. See this Lacroix dress. If you go for nothing else, go and see this Lacroix ball gown. And I quite like. I feel like it's a real sort of, on the one hand, fashion geek thing, but then also I think, you know, people are wearing it on red carpets and things. I think there's a real kind of Lacroix moment happening. It's also kind of Lacroix never really worked as a sort of of house. You know, it never the ready to wear, never worked. The perfume was always a disaster. Like, there's always these things that never really worked with Lacroix. And it would be really great if someone could kind of shake a sort of identity out of it the way they've done, I think, really well with Schiaparelli. You know, for me, Schiaparelli is super Lacroix. You know, it has that sort of extremity and that sort of baroque thing. All the jewelry, all the heavy gold, everything being really expensive because it's covered in embroidery. But, you know, I feel like the women wearing Schiaparelli now are the same type of women who would have worn the quoi in the 80s. And in some cases, the same physical women who wore Lacroix in the 80s, they're just, like, you know, 40 years older now, but they've got the same kind of taste.

[Lauren Garone]

Well, speaking of things you love, you also love Sex and the City like I do. Which Sex and the City character do you identify with most and why? I think we know the answer.

[Alexander Fury]

The character on the whole span of the show that I most identify with is the squirrel that makes Carrie burn her legs in Suffern, because that's a rat with a cuter outfit, and that's what I personally identify with. That's how you feel. Exactly. That's me. But also probably Anthony Marantino, honestly, because he's a bitchy queen and so am I.

[Lauren Garone]

And the sartorial fashion irresponsibility of Carrie Bradshaw.

[Alexander Fury]

Anthony Marentino, with my oven used to as storage, I guess.

[Lauren Garone]

Right?

[Alexander Fury]

Yeah.

[Chelsea Fairless]

Do you have a favorite season of Sex and the City or favorite episodes?

[Alexander Fury]

I'm gonna state things. This is sometimes, like, I have conversations with people, and I'm just like, you know, I really value your opinion. And other times I'm like, no, you are wrong, and I will state some facts. So the fact is that season three is the best season of Sex and the City definitively, Like, definitively. Season four, I like, but I think season three, they worked out the king of. Of seasons one and two. It has the strong fashion identity. But. And this is perhaps controversial, I don't feel like the fashion identity has overtaken the identity of the show, which I think happens later on.

[Lauren Garone]

There's also this idea where. And Michael Patrick King talks about this, where he's like, we always shoot in summer, but when you look at season one and season two, they are shooting during the winter time. I feel like season three is the first season where it's like, it is this permanent spring, summer.

[Alexander Fury]

Yes. But also season three, I feel like so much happens in it, they go to la, which when I was listening to the writers room podcast for. And just like that, if we can mention that, yeah, the depth of my fandom now comes out, you know, and they were saying, I mean, people hated the LA episodes. I'm like, who hates the LA episodes? Those are, like, some of the best episodes of Sex and the City ever. You know, great guest stars, great fashion.

[Lauren Garone]

Speaking of which, did the LA episodes, now that you're here in Los Angeles, did it give you an unrealistic expectation of what Los Angeles might be like?

[Alexander Fury]

Absolutely, yes. It was very much a kind of. But also, you know, I. Where I'm staying in la is, you know, just off Hollywood Boulevard. It's. It's like, it's very un salubrious, I guess is, you know, it's like you see different sides of LA there. It's. It's not, you know, it's not the kind of polish. It's not Bel Air.

[Lauren Garone]

You might be able to buy a fake Fendi on Hollywood.

[Alexander Fury]

I think you could buy lots of things, but a fake Fendi being possibly the least illegal of all of them. I'm trying now to think of like my favorite episode. I was actually thinking the other day, me and my boyfriend went out for dinner and for some reason it was taking a long time for things to come. And I was just remembering that line where it was. She was like, I'm just thinking of, you know, when I can ditch this loser and, you know, smoke the emergency cigarette in my bag. Not that that is a reflection of my boyfriend, but it was when I think he said, do you want dessert? And that was the line that just came to my mind.

[Lauren Garone]

Favorite outfit.

[Alexander Fury]

I'm not gonna say the newspaper print dress because I think that's kind of done to death.

[Lauren Garone]

Oh, yeah. Hit us with the deep cuts if you want to. You can keep it to season three. We can open it out whatever season and maybe it changes by the day.

[Alexander Fury]

Well, no, that's it. It kind of constantly. And then as you're re watching it, you're like, oh, this is great. And then, oh, this is good. You know, and then you're from me. I'm obviously being like a geek and figuring out where things are from and which designers they are. And then all of a sudden, if I'm watching it with, with Joe, my long suffering boyfriend, he'll be like, what's this dress? I'm like, it's Tracy Feith. And then he's like, who the hell is Tracy Feith? And I'm like, oh, yeah, no one else knows this. Like, no one else knows.

[Chelsea Fairless]

I know exactly who that is. And people need to know.

[Alexander Fury]

Yes. Yeah, yeah. But you know, it's like, well, that's Richard Tyler. Which is actually season. No, it is season three when she.

[Lauren Garone]

Falls in the lake, which people erroneously think is a Dior dress.

[Alexander Fury]

It's a Dior malice bag, but it's a Richard Tyler dress, so I can understand the confusion. I do. Like, obviously the saddlebag, because I would like to know this. I'm not sure if it is actual, like product placement from Dior of we want this bag in the show because to make it like the baguette.

[Lauren Garone]

Oh, Alexander, you just need to listen to Kristen Davis's podcast because she loves to spill the tea.

[Alexander Fury]

Oh, really?

[Lauren Garone]

Of Sarah Jessica Parker's style choices.

[Alexander Fury]

I know that she was saying that she got to keep everything. Having said that, she didn't keep everything. And she was like, oh, Sarah Jessica got like 100 bags. 100 Manolo. Those.

[Lauren Garone]

Yeah.

[Alexander Fury]

But I'm interested as to whether Dior actively were like. Because this has done this for the baguette. We want them to do this for the saddlebag.

[Chelsea Fairless]

I think Pat Field had a really good relationship with them and with Galio, because, remember when he got canceled, like, she emailed all of those people in the fashion industry and was like, defended him, essentially. So I wouldn't be surprised if SJP got unlimited saddle bags.

[Alexander Fury]

You know, they are amazing bags. So I love anything with a saddle bag. I'm very into, really. I. I actually not to just harp on about the la. The mismatching shoes in LA is that for me, is. I've always loved mismatched shoes. I think they're very Jeremy Scott. I remember Jeremy Scott doing a show with mismatched shoes. And when I was growing up in the north of England, if two of my friends had the same size feet, I would make them buy the shoes in different colors and then each swap a shoe. When. When I got them drunk enough on a night out, I would make them swap a shoes and make me really happy. So they'd look like an 80s girl band.

[Chelsea Fairless]

I love this origin story.

[Alexander Fury]

Yeah, this is very. This was very me early styling of like, yes, you know, you need to do this.

[Chelsea Fairless]

What pieces do you actually own that were worn on Sex in the City? Or maybe not the same piece, but I know you have baguettes and things.

[Alexander Fury]

Of this nature because obviously it crosses over with the Galliano garage collection. So I have all the saddlebags that she uses on the show, which she uses the two printed ones, a denim one and a logo denim one. So I have all of those. I have the rings that spell out Dior across your finger that carry war in LA. And I bought those when I was like, 15, 16. I got some money for, like. I literally was like, I used to do like, like, housework for my parents and get paid pocket money for that. And I saved it all up and they were like, oh, you can use this to fund your university education. I spent it all on clothes, including those rings. So I bought those real time and they are still in my archive. That. So first you know, and I used to wear them all the time, and I still do. I have the Chanel jacket I'm wearing today, which has the lining. The lining is a variation on the print of the Carrie Chanel blouse that she wears back to front, which is also one of my favorite Carrie outfits. And I did. I. Where I was like, flashing the lining of this. And so many people were emailing me, Power Lad, Power Lad. And I was like, yeah, I'm glad that psychotics beget psychotics. And there's all these other people who are equally obsessed as me.

[Lauren Garone]

Well, we never talked to you about this at the time, but what were your thoughts when they brought that blouse back on? Unjust like that? And even it fooled us. We were like, oh, it's the same one. But it wasn't.

[Alexander Fury]

I was fooled. And then I went. But then also, when you look at them side by side, you're like, oh, then they're absolutely not.

[Chelsea Fairless]

You're like, how did they fool me? I'm an idiot.

[Alexander Fury]

I mean, there's like a multiple different prints in that collection around the same. You know, this one, the one that I'm wearing, is like, you know, bright blue and green. So it's obviously not the same. But, you know, I thought it was interesting that they brought it back as this kind of Easter egg, but wasn't an Easter egg, which is kind. You know, it's kind of like some of the problems I have with. And just like that. That you're like, oh, this is a real deep cut. Oh, no, it's not. There's lots of these things where I'm like, oh, you could have referenced this. This piece of kind of Sex and the City history, but you kind of fucked it up somehow. There was a lot of those missed opportunities or like, oh, you're talking about Harry's mother. When we all know Harry's mother died before he got with Charlotte because that's the only reason why he's able to get with Charlotte. So this is why. And just like that was me screaming at the TV and throwing things.

[Chelsea Fairless]

Are you sad that it got cancelled, though?

[Alexander Fury]

Because there were these kind of times when you felt like it was getting better. And, you know, Joe and I would be sat there and be like, this one was. We laughed. You know, I broke a smile watching this one. It kind of got better. And then the next one would be, like, so much worse. And I feel like I just wasn't sure if it was like the kind of rockiness of Early Sex in the City. I mean, way rockier. But the idea of, like, there's a kind of rockiness, and maybe it will all be ironed out and we'll find where these things are going. And sometimes maybe you just have to.

[Lauren Garone]

Kind of admit that it's not like Burger and Carry. It's just not working.

[Alexander Fury]

Exactly. You've just got to step away from it.

[Lauren Garone]

This is going to be the most American question. It was playing at the same time that it was airing here, right?

[Alexander Fury]

Yes. So we would watch it on. So I think it aired super late on a Thursday, and we could watch it on a Friday night. I mean, yeah, the kind of pathetic ness of that was what? I spent my Friday night setting an.

[Lauren Garone]

Alarm at 3 in the morning. You're like, joe, we can watch it.

[Alexander Fury]

Well, no. Occasionally I'd be like, we could watch it in the morning. And then I think after watching a few of them, we're like, this can wait. We're not gonna get up early to watch it.

[Lauren Garone]

Yeah, you're not us. That's what we had to do.

[Alexander Fury]

I did rewatch some of them, and in the same way we rewatched some of those, I also recently rewatched Sex and the City, the movie, too. And yeah, was kind of shocked and horrified just at things. You know, I always forget things. Like, I forgot the Liza Minnelli nurse of it. I forgot this whole. Then all of a sudden, it just kind of happens in front of you, and you're like, oh, my God. And I completely forgot the end where Carrie's lifting up the burqa and flashing her legs. And I was telling someone who'd never seen this before, my friend Susanna Frankel, and she did her Lindsay Lohan and Garo. She was literally like. And actually, I had done that. I was watching it, and I was stood there with, like, my hand over my mouth being like, I can't. I forgot this happened. I'm so, so shocked.

[Lauren Garone]

It would make more sense if it was something that Sora had made. Like, if this was AI Slob. What would be the most offensive thing if the Sex and the City girls went to the Middle East.

[Chelsea Fairless]

But apart from the very xenophobic stuff which we're touching upon, the last time we rewatched Sex in the City, two post watching. And just like that, we were kind of like, it's better than we remembered.

[Alexander Fury]

Which, I mean, it's better than just like that, for sure.

[Lauren Garone]

And this is my theory. I've often felt that. And just like that is a response. Response to. From Michael Patrick King, to everyone who hated the Movies. And he was like, oh, if you hate the movies, I'll really make you.

[Alexander Fury]

Hate Sex in the City.

[Lauren Garone]

Yeah.

[Alexander Fury]

But also, I obviously listened to you guys talking about it. And then I was like, oh, I'll listen to the writers room podcast. But it is incredible. I've recommended it to lots of people because it's just like, wow, they really think this is really funny. Like, they're like laughing more than anyone who ever watched this program. Laughter. Laughed in this when they're talking about it. And the kind of profundity. And I love the bit where they were talking about Miranda hate watching. And they were going, hate watching. So isn't a thing. If you watch something, it's because you love it. And I'm like, no, people hate watch. And just like that, you can't project this onto us. We are watching this because we want to see how bad this car crash is.

[Lauren Garone]

Well, it presents an alternate reality because when they're explaining the episode, you're like, well, that makes sense. And then you have to remember, oh, that is nothing that that was portrayed on screen, though.

[Alexander Fury]

Yeah, yeah, yeah, yeah. The way that Sex and the city 2 is superior is because it is still about this kind of tight knit group of women, even though, you know, even with kind of questionable moments of, you know, like, I did also forget about the. The lesbian nanny. The whole thing of like, oh, I have an attractive nanny. This is dangerous. She's a lesbian. It's fine. She's not going to steal my husband. It's like I was just like, what?

[Chelsea Fairless]

A lesbian with huge tits that doesn't wear a bra.

[Alexander Fury]

Yeah, but she's a lesbian, so it's fine. Like, you know, threat diffused. It was cause, effect, solution. There's like, there's kind of this, whereas. And just like that doesn't have that kind of linearity of time. It's kind of amazing in a sort of Dada way. Like. No. Like a Louis Bunel film or something where there's like just no kind of logical conclusion to anything that's happening.

[Lauren Garone]

I think in Just like that might be the best artistic statement of what Covid felt like.

[Alexander Fury]

Yes. Yeah.

[Lauren Garone]

The sort of brain fog it feels like that it took to write it.

[Chelsea Fairless]

Well, remember in season two when Carrie was like. And just like that, I got Covid.

[Lauren Garone]

Oh, that's right.

[Alexander Fury]

Yeah, yeah, yeah, I remember that.

[Lauren Garone]

She did get Covid.

[Alexander Fury]

But also to kind of diverge from my championing of season three, I also do. I am very anti. And just like that, Steve. I'm very anti. What they did to Steve. Because I. When you rewatch season two, and it's him and Miranda kissing in the rain, and you're like, this is a perfect, perfect episode of television. Like that. That one when they. When Mr. Big turns up and then she goes out at the club and. Yes. Denial. Exactly.

[Lauren Garone]

One of the best fake. Fake clubs that they came up with.

[Alexander Fury]

Yes.

[Lauren Garone]

That in bed. Or wait, bed was real.

[Chelsea Fairless]

Bed was real. But they filmed in a fake version.

[Lauren Garone]

Got it.

[Chelsea Fairless]

Okay, last question before we let you get back to your boyfriend. Favorite Sex in the City boyfriend.

[Lauren Garone]

It sounds like Steve.

[Alexander Fury]

I mean, I wouldn't count Steve as a boyfriend. I think both. Justin Tharouch.

[Lauren Garone]

Okay.

[Alexander Fury]

As kind of, you know, presences. I like that kind of, you know, coming back or Bradley Cooper. It's like, you know, sometimes you watch and you're like, oh, my God. Or any of the ones that kind of guessed on sv. On svu. I like the SVU crossover and also telling people who don't know that much because there's still quite a lot of people who haven't seen Sex in the City. And when you're like, you know, Bobby Cannavale is like, a guy with funky taste in spunk of the like. Like, what are you talking about? Like, I.

[Lauren Garone]

You know, Alexander, we don't associate with those people.

[Alexander Fury]

I will come down on Steve and say, I think Steve. Although there are problematic moments with Steve and the corduroy suit and the inability to accept, not charity, but inability to accept kind of the economic disparity between him and Miranda and her success versus him.

[Lauren Garone]

Are you pro corduroy suit or anti corduroy suit?

[Alexander Fury]

I hate corduroy, but I'm pro the meaning of the corduroy suit. As in, he should just wear the corduroy suit and she should let it be. But at the same time, I'm like, I don't feel a man should feel emasculated by the success of a woman, which often happens even today. But for all of his flaws, I would still say Steve is. When you watch it, you just watch any of those seasons, and you're just like, steve is, like, perfect. He's a wonderful human being. He makes my heart sing.

[Lauren Garone]

That's a controversial statement.

[Alexander Fury]

Really?

[Lauren Garone]

People are gonna have some thoughts in the comments. I predict, really, he is flawed.

[Alexander Fury]

But at the same time, I'm like, he's a wonderful. He's a wonderful person.

[Lauren Garone]

There you go.

[Chelsea Fairless]

Okay, one last thing. On your way in here, you saw our Absolute Hunk poster.

[Alexander Fury]

I did.

[Chelsea Fairless]

And you clocked the photographer can you give us some context?

[Alexander Fury]

So, yeah, when I clocked it and the photographer is a photographer called Toby McFarlane Pond, who photographs a lot, still works a lot today. I used to edit Love magazine under Katie Grand. He photographed a lot for us then. And he also potentially most famously photographed the Prada Schiaparelli met catalog in 2012. 13. I can't remember precisely which year that exhibition was, which I should know. I think it was 2012 actually. So, yeah, that for me is what he kind of made most famously photographed as kind of a body of work. But he worked a lot editorially for different magazines and apparently one of his very early things in credit mark 2003 was doing absolute Hunk. He photographs a lot of like still life's a mannequin shot.

[Chelsea Fairless]

He's a legend. It's an amazing photo. The Absolute Hunk ad. It's like better than it needed to be.

[Lauren Garone]

It's very legit.

[Alexander Fury]

It's very much in the ilk of those, in the kind of phallic quality of those. That absolute bottle. It's, you know, very much as in the absolute bottle shape replacing a real life object, whether it's like a pool or, you know, being carved out of ice or in this case, you know, covering someone's manhood in a provocative fashion. It's very, very much of. Of reality it could be. And I do love that it has all the real credits on it as well.

[Chelsea Fairless]

And I had never bothered to even look, they were so tiny. But of course you clock that in two seconds. And this is why we are so, so blessed to have you on this program today. Thank you so much for joining us. This has been an absolute delight. Enjoy the rest of your trip.

[Alexander Fury]

Thank you very much. Pleasure to pour through the memorabilia and to be here on my favorite podcast.

[Lauren Garone]

Give our regards to Samantha or shall I say Annabelle Bronstein back in London.

[Alexander Fury]

I shall.

[Lauren Garone]

And thank you to everyone for listening today. We will be back next week.

[Alexander Fury]

Bye.

[Lauren Garone]

Bye.

[Alexander Fury]

Bye.