B (4:07)

Hi.

C (4:08)

Thanks for having us.

A (4:09)

Hi. I'm so glad to have you all a mere two days after your show, as I wrote in Monday's line sheet, or a mere three days after your show because it's running on Tuesday, as I wrote in Monday's line sheet. Thank God your show was really good because it would have been a little weird, but your show was awesome. It was. It was a fucking good show. And honestly, I think the best thing at New York Fashion Week, I still haven't. There's a couple things I haven't seen yet, so remains to be seen, but I always like what you all do. But I thought this was, like, really sharp and felt I did. Have you had a lot of people asking to do pre orders?

B (4:50)

There have been some pre order questions, but the truth is we already sold it. So we kind of just have to be a bummer and say, yeah, there.

C (4:58)

Might be some Little things we tweak here and there. Yeah. Like, our structure is, like, we sell in June, and then we present in September. Interesting collections time. So we always like to, like, roll the dice and see how to, like, structure our business in different ways like that.

A (5:12)

So here's a question. The pants in the first look that I feel like maybe there were different iterations, a few different iterations of them. When can I buy those pants?

C (5:24)

Those are going to be coming out.

B (5:26)

November. December.

C (5:27)

November, yeah, December. Realistically.

A (5:29)

And can you describe those pants and sort of the idea behind them? Because the minute I saw them, I was like, those are the pants that I've been needing and wanting.

C (5:38)

Absolutely, yeah. So those pants, it's basically just like a slightly. It's like a lower rise, but also kind of a mid rise, because there's a slash in the. It's a double waistband with a slash from, like, the. Like, the side seam to side seam. So you just kind of have this, like, floating waistband that kind of has this slit or sliver that will allow flesh or if you want to have some sort of untucking, tucking situation with your top layer. Um, and yeah, they kind of. My brother's getting married at the end of this month, and they kind of were derived in this. When we're starting the collection, I was thinking a lot about, like, formal wear, and because I'm doing his and his wife's or his future wife's outfits for the wedding or. So that was kind of a impetus in, like, how that kind of emerged.

A (6:26)

Yeah. I felt like what I love about what you all do with pants and knitwear generally is that they have a lot of form, but they're, like, loose. Easy, too. And I have been looking for a pair of black trousers forever that were kind of narrow but still slouchy. And not everything just looks like a lawyer pant on me. And I was like, maybe these won't look like a lawyer pant. I thought they were really good. How do you all, like, in the context of New York Fashion Week, like, why do you all show at New York Fashion Week? What do you think the value is in doing a Runway show? Because the way you present your collection, you know, you're a lot of what you've done is it's already been sold to the stores. So what is the value of having that show and having your friends come, having editors and buyers and everyone come and see it in person?

B (7:31)

Well, I think we're mega creatures of habit, and we love to show, like, we love to have our friends Come and have this be like a community event. It's not just for buyers and press people and the people we work with. It's also for us and at our scale, like, the majority of our marketing budget is our shows. And then it is also just frankly, a time for us to make money by partnering with sponsors and having this opportunity for not a huge collaboration, but a small, fun marketing thing for various different, you know, jewelry, shoes. So all of these things combined just make a net positive occasion for us to basically capture a lot of our social media content in one day and really, like, have the looks on various different people and not like a photo shoot or an E commerce shoot where it's like four models but 30 of them and kind of like diversify how we're presenting the clothes without it being a series of a bunch of little campaigns that feel kind of like derived of presentness.

C (8:42)

Yeah. I think with the language of the shows for us since we've started, have always been really integral on a creative level for us and how we kind of not how. How we consider the collections as we develop them, but the way they culminate in the structure of a show is something that we are really jived on, I think, in the sense of, like, when you think of fashion where the points. Where there's like, actual. When it's not so focused on, like, product and like, selling and all these things, but, like, where are the. I think also now campaigns feel like images feel, like, progressively less valuable due to Instagram. I think there's something with shows where it's like, where ideas transacting. Where are we thinking about clothing and our relation to it in a broader spectrum? And I think having a show allows us to have that intellectual and creative fulfillment in the work we do.

A (9:42)

There's a lot of discourse over sort of the past, present and future of New York Fashion Week. And honestly, I've been going to New York Fashion Week since, I think, 2006. And it's been a conversation since even back then when, like, all these young, cool brands were coming up and everybody thought they were gonna rule the world. And you all have been doing it for, like, 10 years, or you've been around for 10 years. So by the time you all started showing, it was already a sort of question of, like, why? What value does New York Fashion Week have if not as many buyers are like, international editors and things are coming and now it feels even more. More nebulous. But, like, do you all. I still see the value in it, and I think there is it Doesn't. To me, the value's on an individual basis, and I get a value from it. That's different than a market editor at Harper's Bazaar. That's different from a buyer. That's different from one of your friends. It's different from a designer. You know, we all. It's not. It's not as uniform as it used to be. But, like, do you all think about it as one sort of continuous event or are you just like, we're going to do our thing. We're doing it during this period because a lot of people are in town and whatever anyone else does, it doesn't really matter to us.

C (11:07)

I think for us, New York Fashion Week, I think. I think progressively in the. Since Style.com emerged and the way we approach Fashion Month, you know, it's. This does feel like. And that, you know, majority of people are not going to the shows in every city and are seeing them on vogue.com or Instagram. And the Fashion Month is kind of how I've started to perceive it.

B (11:34)

To make this joke that was like, it's always Fashion Week somewhere and now it's not a joke.

C (11:39)

And sure, people love to arrive on New York Fashion Week. I think it's important in the sense, like, yes, it's felt more provincial in, like, recent years, but it's also like, we are so far from, like, an LVNH or caring company. And I think the consolidation and homogenization of fashion in those realms makes. Is a bit like, there needs to be space for other voices and brands. And yeah, they're. I think, unfortunately, like, the tent poles of American fashion have kind of shifted or aren't as powerful as they once wore as you have in Europe. So it makes it a bit more like, nebulous New York Fashion Week at times. But I still think there's a lot of value in its existence.

B (12:27)

And for us, like, it's more than a personal preference. I mean, Mike really is sensitive to anyone saying anything negative.

C (12:32)

New York, this is true.

B (12:35)

As a real New Yorker. For me, I'm like, it feels sleepy. I come here for Fashion Week and I go back to LA after Fashion Week, often at the same time. The people here in the community that we have are under a brand, are producer. Like, there's no way we could do what we do in another city without a very different financial structure. And we are. It's not. We're not supported by, like, there have been times where we've been supported by the CFDA or New York Fashion Week as, like, a Hashtag institution. Like, we're touched by that support, but at the same time, the support we have and we've created here out of our community is why we habitually do do it here.

A (13:13)

Yeah, yeah.

C (13:14)

And we're not opposed to showing. Like, I'm sure I'd love to show in Paris, but as Zoe said, that's a whole. I know from lots of brands adjacent to us who show there and hearing how challenging it is for them when you know, you're in this. I get it, like, to be a big. A small fish in a big fish, small pond, small fish, big pond situation that it's like, can be really challenging when you are up against the attention of, you know, media and everyone else that come to your show, have it properly attended. When you're like, you're slotted between, like, Dior and YSL or something like that, it's like, how can you even begin to play that game?

A (13:48)

Totally. It's so true. And I think also it is also the. The American brands that have moved there who and been successful. I mean, I can't really think of anyone else but the ro. But like, the rose business is there. Like, a lot of their people live there now. They operate a lot out of there. And I think the thing that fundamentally has been realized for me, that wasn't real in 2006, like, LVMH and Kering were still forming. A lot of the designers who were showing in New York and not just Proenza School or there were a lot of other ones were sort of up for jobs. Rodarte, like, up for jobs at LVMH and Kering. Alex Wang became the designer of Balenciaga. Like, what has fundamentally changed is, like, the businesses. And it was always. It was never the same business. Like Coach and Michael Kors and all that is not the same business as the LVMH and Kering brands. The difference is those businesses just, like, became more dominant in global culture. And so I think what is challenging what I think, as long as you know who you are and you're using this for what it's worth, which I think you two do in particular. But I also think like Kate Holstein does in that she, you know, she puts a lot of money into her shows and it's really client focus, that sort of thing, there are ways to, like, make this the best possible scenario. And I do think you all use it in a good way. And I am truly not just saying that's why I was comfortable having you on the podcast the day after, because I Was like, their show's never going to be terrible. And also, I do think you all, like, you ended up being real. Yeah, but, like, I've never. You've never done a bad show. Like, it's not. It's not going to be. There's definitely been shows where I'm like, I don't like that as much as other seasons, but, like, this season was really good. And it also showed that you understand, like, what to get out of it. And I thought it was, you know, that's the thing. Like, this whole idea of, like, it's not a big thing anymore. It's not a big thing anymore. Oh, well, like, use it for what it's worth. Like, the world changed and. And move on and something else will. Will happen and it'll shift again. So anyway, yeah, I mean, it's not.

B (16:14)

That it's not a big thing or we don't like what we just did. But, like, yesterday we were at the park laughing about what the day after the show usually was like, was for us in the past, really would have been, like, crying, hungover, just, like, completely just ran through sad shells of humans. And we were, like, at the park with my baby, having a nice time, you know, it was fine.

A (16:36)

Yes, totally.

B (16:37)

It is, like, muscle memory in some ways, but also the pressure from the outside also just doesn't feel the same.

C (16:44)

Yeah, I think it's also a way to have, like, expand. Like, we are able to do a lot with barely anything. So I think it's also sort of like a demonstration in, like, our skills of, like, resourcefulness and, like, what we are capable of as a really small, independent fashion brand and, like, with aspirations that, like, you know, we could do a lot if there was more resource behind us and. And what that resource came from or looked like could be really, like, we could be really spectacular if that was there.

A (17:17)

Totally. I mean, every time I see your show, I'm like, why don't. Why doesn't this brand hire them? Why doesn't this brand hire them? Why doesn't this brand hire them? It's just so like, I couldn't name five brands right now that you should be the creative directors of. So it's. It's real what you guys are doing here. So good, so good, so good. New fall arrivals are at Nordstrom Rack stores now. Get ready to save big with up to 60% off. Vince, Kurt Geiger London and more. How did I not know Rack has Adidas?

C (17:49)

Cause there's always something new.

A (17:50)

Join the Nordy Club at Nordstrom Rack to unlock exclusive discounts on your favorite brands. Shop new arrivals first and more. Plus get an extra 5% off every rack purchase with a Nordstrom credit card. Great brands, great prices. That's why you rack. So speaking of real. So do you ever do red carpet? Have you ever like.

C (18:14)

No, no.

B (18:15)

Like Mike's doing his sister in law to be's wedding dress right now and we haven't. We did bridal like a couple times. Names shall not be named, but like the ego involved in that. Yeah, it's just not our bag. Like it's not our bag to like make people feel like dolls and then involve their ego. I've never really understood it, but at the same time the spectacle of it is still entertaining.

C (18:42)

It's cool and like I'm not opposed to it. I think it's also just like that. It's like it's an infrastructure thing, resource too. It's like, you know, what goes into making custom clothing and that whole world is something that's a bit outside of like of the way we operate as a fashion brand.

A (18:56)

Yeah.

C (18:56)

And then also I think a lot of what Zoe and I gravitate towards is like, we do like to play with like occasion stuff, evening garments, but it's like a lot of what Ecufast a lot is really focused on is this sort of like foundation dressing with like a twist I would say. And it isn't about like, you know, internal corsetry and like black tie tailoring type stuff.

A (19:19)

Totally. Okay, so last night, well, I mean this is running Tuesday morning, but we're talking Monday. Sunday night was the Emmy awards. One of the. It's sort of the kickoff of the red carpet season and we were discussing the fact that it was sort of a non starter here in. And usually Zoe and I are in la. Maybe we would have felt it more if we were there, but I really just like didn't. Also some of the kind of best red carpet people, Ayelet Abiri, Greta Lee, neither of them were there and I always look for them. But what a source with firsthand knowledge of the red carpet. Let's call this person that said to me the carpet was shocking. End of season dresses, post Venice in Toronto, pre fashion week, all equal shocking red carpet, which I essentially think means there weren't a lot of dresses available. And so there was just like not a lot of great stuff. But I was just curious, like was there anything you guys saw that you really liked or you really hated or you thought was interesting?

C (20:28)

I guess I wasn't clicked into Knowing the Emily's were happening to really this conversation. But I do think on that note, there should be some sort of. Remember a few years ago, like, the Oscars overlap with Paris. Right. And it's like, why isn't there conversations where they, like, structure these, like, large events and not to overlap with one another?

B (20:48)

It really needs to be acknowledged as just an ad and not, like, some creative process or expression from these actors that it feels genuine. But, I mean, I think when I looked through it, I felt like the men were having more fun than the women.

A (21:04)

Agreed.

B (21:06)

And I liked how political it was, even though it was hardly political. And, yeah, I was really unenthused by most of the looks.

A (21:21)

Yeah, I agree about the men. I thought Colman Domingo looked really good in Valentino, and he has incredible style. I agree. I think there's also a lot of conversation in the sort of Hollywood trades about the Emmys being at the wrong time of year. Because you're essentially like, for instance, the bear they were voting on a season previous to the one that just ran. Cause it's all, like, messed up. And why don't they just do this in January with the rest? Yeah. And then you could kind of move through. I thought the two Dior looks. Rashida Jones and Dior and Sam Nivola and Dior, I thought they both looked good. And it was like, a big improvement from the Venice. The beginning. Like, just Jonathan Anderson isn't. He hasn't really been a red carpet designer. A lot of the Loewe stuff was just like, he did custom stuff, but a lot of times it would be Runway, and so he's getting his footing. I thought that.

B (22:27)

What was that meme we were just looking at, though, Mike, where it was like, it's pretty dangerous. Like, oh, God.

C (22:34)

I love jw.

B (22:35)

I love it. But like, that photo of Josh o', Connor, who is one of the most beautiful people on the planet, wearing that take bow tie and look.

A (22:41)

It was wrong. That look was wrong. That look was. I think everybody knows that look was wrong.

B (22:47)

Like, I live for those moments.

C (22:50)

That's kind of what I miss a bit is, like, the sort of. I think everyone's so anxious on that level of celebrity and how, like, you know, their image bounces around the world so quickly and that they obviously, you know, they all have these stylists and everything. And I miss a bit of, like, the way when they used to dress themselves and like, when you looked, like, red carpet imagery from, like, the 90s and stuff. And it's just like.

B (23:13)

But People like, stylist and have fun. Like, what Meg Salter did, that was cool.

A (23:19)

Yeah. Well, who is she wearing?

B (23:21)

She wore a Hanes T shirt, Levi's jeans, and a piece of duct tape that said ceasefire on her. Her purse.

A (23:28)

I agree.

B (23:29)

And, like, she also just had, like, two big roles. I get that she can be kind of cocky, but I thought it was cool.

A (23:37)

Yeah. Yeah. I also thought there was someone else who. Oh. Like, the thing is, not everyone is Chloe Sevigny. Not everyone has Chloe Sevigny's legs. Not everyone is cool and has a sense of style. But I do think she just always looks great. Even if you don't like it. Like, she looks amazing. And it's something to talk about. I thought Hunter Schaefer looked beautiful. She wore McQueen. But, like, generally there is just. I think it's honestly, I think, connected also to the. Over the overturning creative directors and everybody just sort of finding their footing. And then also people changing stylists and the. So there's like, not only are the teams internally at these big brands changing, but the styling teams of the celebrities are changing, too. And so there's so much change. And also, like, suddenly the stylists have different relationships with the VIP teams at. It's like a new VIP team. You have to learn. And, like, there's just also. Does just. It did not feel. And I guess I'm never there for the Emmys. I think I have been previously. Like, it's been. I've. I've been home already. And.

B (24:53)

Do you go to red carpet?

A (24:55)

No, no, no. But I am occasionally. I was invited to an Emmy's part, like, a big Emmys party this year, and I'm usually invited to the one in particular. But the last year I remember, I was just too tired. Like, that's. I never go anyway.

C (25:08)

But also, I think, to your point, calling out Chloe and Hunter, Dara and Hailey, their respective stylists, are, like, really powerful, like, creative forces that I think exist also in, like, a very, like, fashion world. And they're not, like, celebrity stylists.

A (25:23)

Totally.

C (25:23)

So I think that's also, like, there's something really synergistic with those pairings and, like, that sort of relationship they have and. But also, like, where the minds are at with the conversation until I find the clothing that I think is really quite cool.

A (25:40)

Yeah.

B (25:40)

Yeah. I think. I don't know that mourning people dressing themselves and not having a stylist, I don't like. I'm glad they have stylists. Like, glad they have People to help them. But I do think that kind of. It's all homogenized, and it's all a billboard, and people are just getting paid too much to make choices rather than have opinions. And I don't know. I like that, like, Lisa, the K pop girl from. From.

A (26:05)

Yeah, she looked cool. She looked.

B (26:07)

It was a crazy thing. It was a Luke, and, like, it was made by some designer I never heard of. Like, in. In a way that, like, uses the opportunity of red carpet to have fun.

C (26:19)

Totally. But I also wish that there was more just direct translation of, like, from Runway to red carpet and not these, like, looks that were made a Louis Vuitton atelier that I'm like, what is this?

A (26:31)

Yes, I agree. I mean, I think the challenge is when the stuff on the red carpet doesn't fit anyone. Yeah. Yeah. Which may be an issue at that particular place. And also, like, is, like, very looks amazing on the Runway, but then only looks good on Jennifer Connelly. So they're just like, here's a pretty dress. I mean, I thought that Selena Gomez looked real pretty in her red dress. I was like, I'd wear that, but. But it's not as fun as, say, who did. I think. Who else did I think looked good? It was a real challenge. I was like, I need to find a few people to mention. What's your name?

B (27:10)

Ortega.

A (27:12)

Oh, yes. In the McQueen. Yeah. I gotta say, the McQueen red carpet has been. I'm not McQueen. Oops.

B (27:19)

I think it was McQueen.

A (27:20)

No, it was Givenchy. Sarah Burton. Yes. I gotta say, the Sarah Burton red carpet has been killer. Like, it's just been so good. I think it's better. I think it's gonna help her sell clothes. Like, every single look has been. The custom stuff they've done has been amazing. This was a Runway look that she. They did a skirt instead of pants. But I think that the Givenchy. I thought hunter Schaefer wore McQueen, and that looked good too. But the Givenchy has just been, like, absolutely murdering on the red carpet. I think it's the best thing that she's done. I think it was better than the Runway show. Like, it just.

B (28:00)

She's. Everything's been good at that.

C (28:01)

Exactly. She's really good. Like, her, like, lineage and, like, I'm a queen and, like, what she was doing there, it makes so much sense that she could, like, do a spectacular job at red carpet dressing.

A (28:11)

Yeah. I. I think, obviously, there was tons of Giorgio Armani looks. I thought Leslie Bibb looked very good. She said she couldn't Breathe. But it was worth it. I thought it was a very cool dress.

B (28:22)

But wait, was that the one with like the sandwich board?

A (28:25)

Yes, a lot of that. Yeah. But. And they are sort of the. The. He was like the king of this. He created the red carpet essentially. I'm curious. I did a. I have a big piece in Monday's line sheet about his will and how he's like, not only am I going to control this forever, but I'm going to tell you who is allowed to buy the company. So he does want to sell the majority of the business but he wants the foundation to have voting control and he also had preference of who he would like to be allowed to buy it. I think that the way the will reads you can have. There is additional information but like you can. If, if they don't want it he. They can go to other bidders. But I thought it was fascinating. What is your all's relationship to Armani and what did you think about like how this all went down as. As people who are building your own independent fashion businesses?

B (29:35)

I mean I was reading the will this morning and thinking, being like wow, the last laugh. Like he really got it like the goat. The guy that retained independence this whole time had a plan to sell it after he died. And I think there was just something about reading it that made me really respect him so much and how forward facing he was from day one and how he like retaining the control and also like looking towards the future in a way that it's so easy to get caught up in the little things of running a business or your brand or branding or the expression of like what is relevant now, what is the trend I'm going to cap or like ride on whatever. And how he more than anyone was able to navigate decade over decade this way and into after his death. Already planned how it's going to work.

C (30:26)

Yeah. I think it's interesting to think about the way he manages power in posthumously in that and how as such a powerful independent brand and his like depth of controlling how it existed throughout his lifetime to kind of have that, to still exert that upon your. The C. Whatever C suite. People being like this is kind of who I actually trust. How much do I trust you guys? Knowing that maybe there'd be other voices that would need to come in I think is an interesting move. I think it's a bit, I think part of it's a bit sad in the way that it's like okay, so it's all about everything kind of like glomming together More and more. So like, okay, like another brand for like the LVMH portfolio is like, it's like, of course LVMH is like very good at what they do. But also I don't see why Armani wasn't very good at what he did independently. And just, I think the more things kind of become siloed, I think is a bit depressing.

B (31:32)

Totally. But do you think, like, this is all he wrote the will with? The attempt to just start a bidding war?

C (31:41)

Maybe.

A (31:43)

That'S a question. But then there's also the question of did he already have a deal with LVMH in the back that we don't know about? Like that's there. I was talking to an executive who worked there for a long time, a long time ago and said there was always this thing when they were working there that they got really, really close with LVMH. And then Armani was like, no, I want 1 billion more than I said. And LVMH was like, no. And so it didn't happen. Then there's also, there's like other. There's independent people who have been supposedly trying to, to do it and to buy it. And I think, look, I think there's a couple things. One is there's an emotional thing to this. Like, I'm sure Mr. Arnault reveres Mr. Armani. I know the Arnault family really respects Mr. Armani and what he built. And I think this was 15 years ago. It would be a no brainer. I think the difference now is Armani is a clothing business you cannot tack on. They do have luxury handbags. I'm sure they sell many of them. But it is not a handbag business. You cannot tack a clothing business on. You cannot tack a successful handbag business onto a clothing business anymore. It just doesn't like the way they do with Dior. It just doesn't work anymore. Like, it's not. It's hard enough with a handbag business itself. It's just not. There's. The customer has changed. And LVMH is acquisitions at that level. So this would be like a several billion dollar. They do, I think 2 billion a year in sales or something. 2.3. This would be like a $7 billion acquisition or something, which is not nothing. It's not the biggest they've ever made, but it's not nothing. Every one of their, like very large acquisitions in the last recent years, it's Remova, Laura Piana, Tiffany Balgri, They've all been about Expertise in a very high margin business. So like fine jewelry, knit and cashmere and that sort of wardrobing and then luggage. Like Remova doesn't really have a competitor. So I think practical wise, I don't see a world where LVMH is like, I think it's a good idea to buy Armani.

C (34:04)

Well, I guess, sorry, men's tailoring perhaps like, you know, like what its foundation is. Like, don't they have Bill Ruti or is that work? But like, I'm thinking like they don't really have that sort of. So many LVMH brands in my mind are more women's focused. Where Armani I think is leads as a menswear brand. And of course womenswear is like really big in it, but I think from like its origin point. So maybe it is some sort of like positioning on that form.

A (34:31)

That's a good point. And maybe I will add that into my copy since we haven't published Monday's line sheet yet. But I think the challenge with that is, and it's true when you look at like if they, if you look at Brunello Cucinelli, you look at Zhenya, you look at these businesses that are performing very well. I think the challenge with that is they have Loro Piana, which is, is I'd say kind of satisfying the Brunello Cucinelli customer. Yeah. Or the Hermes customer. And then the other thing is like men's tailoring has become a thing that is a fashion thing. It's not a daily, it's not the way people wear. So it, so what the business prospects are in terms of growth would be. And the menswear market's growing very quickly and there's like a bigger customer there than ever. But the growth of like suiting, it's like Dior has a huge men's suiting business. So like, you know, but it's a good point, I think.

C (35:31)

But I think it's also like my boyfriend is like praise at like the altar of Armani and he's like, works in the art world and a lot. And I see too with a lot of his peers, like they want to wear Armani, like it, like it has a value to them that they would never want to wear like a Dior suit. They're into fashion, but they would never want like Laura or Bruno, like Giorgio. Armani has some sort of caliber of importance and expertise. And I think what it signifies in the way like brands translate and like, you know, the symbolism of them, I think There's a lot to be said there. And like what the future money can be crew.

B (36:09)

It's like this American Psycho 90s like. Like it's beloved. I hear you and I know Peter will. Will die on that altar, but it still is not. I hear what Lauren's saying. It's not the. I mean, like the guy that won the Emmy last night, his suit was made by Figs.

A (36:28)

Like, oh my God. That's what we need to talk about. Noah Wiley. Noah Wiley, please contact me. I need, I need Matt Bellany. I need to message Matt Bellany. If you listen to Puck, if anybody knows Noah Wiley, if you know Matt Bellany, if you listen to the town, if you read what I'm hearing and you only you read line. She whatever. I need someone to reach out to. No Wiley, immediately. We need to do an intervention. I understand why you. You wore Figs because Figs is a very cool scrubs brand and he was trying to be cute. This is a very good looking man. He should have been wearing Armani. Speaking of like, he should have been wearing Armani or Brunella. Seth Rogen looked amazing in Etro. Congrats to Etro. Congrats to Seth Rogen for having good taste. I was devastated. This very handsome man who I have had a crush on since I was 12 years old or whatever, or 7 years old whenever ER came on. Please do not wear a Figs. This is your moment and you're wearing a Figs tuxedo. I'm very upset. I'm done. Please speak.

B (37:38)

No, I'm glad, but it, like, just. Frankly, if it didn't wasn't in the byline, I would have just hit next. It was a whatever suit. And I think a lot of the intents and purposes of men's suiting is to be whatever suits. Like, I think a lot of money is behind just looking kind of bland.

A (37:55)

I agree. I agree.

B (38:04)

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C (38:31)

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A (39:03)

Okay, guys, I think I have one more topic for you. And then I will. I will let. I will let you go. Let me look up on my document. I just got. Actually, I just got some word from a source at Armani. So the one thing. Yes, it's just a bidding war. The thing that they underscored is he said such as these companies. He was not saying they have to be the ones to do it and.

B (39:31)

Give his right hand to the right to pick others.

A (39:36)

Yes, yes. So Leo, I think you're going to have some choices. I forget his surname. But Leo, his partner in life and in work, who is a very Young, I believe 62 or something, or 72. He's going to make the changes. Okay, so what was the final thing I wanted to talk to you guys about? Oh, I have a great little scoop in Monday's line sheet about the November cover of Vanity Fair, which will be driven. I don't know if he did everything in it. I think it may be his first issue. Mark Guiducci, the new head of editorial content, we're just gonna call him the editor in Chief. Cause that is his rightful title. I am curious. So he. I have this little scoop. What I'm hearing is that he is going to have only men on the COVID because this is the Hollywood issue. So, you know, it's usually the best one was when they did the like, Teen Dream one with Lindsey and the olsens in like 2004 or whatever. But. But these iconic covers. There was a good one a few years ago with David LaChapelle shot it and it was fun. But like Jenner and I think Katie Grant styled it. That one was cool. But like, generally, it's basically usually nominees. And. And what I'm hearing is that it's gonna be all men. There's like a very. It's not tied to people who maybe are gonna be nominated, but more tied to a specific story that has something to do with like, the role of men in Hollywood post. Me too. I think it's sort of an extension of the conversation that GQ started with this, like, idea of defining masculinity in this age or whatever. But I think the idea was like, everybody does these covers now. The Hollywood Reporter does them. Variety. How. And Mark has made it very clear in the press that he does not Want to be kind of competing with the trades on four year consideration advertising, which is a truly incredible lucrative business that I had no idea about before I started working at puc. But I am fascinated by this four year consideration thing and I really want to create some sort of scheme with the CFDA where they're selling me for.

B (41:52)

Which by the way, we were going to. Here's some. For your consideration. Go for it.

A (41:58)

Yeah. Guys, congrats on being nominated. I nominated you both. Well, I've obviously nominated you both, but I nominated you for both men's and women's. And you're in both men's and women's. Right?

B (42:10)

We're just in men's, which is okay.

C (42:13)

So only I'm going next year.

B (42:14)

So only Mike's going and only Mike.

A (42:16)

Is receiving okay next year. But. But the point being that like he's. I think the what? And Conde didn't have any comment for me on this. But I think the point he's trying to make is like, we're gonna have the Hollywood issue, but it can't be this FYC thing cuz there's all these other rags that do it. I am just curious, bigger picture.

C (42:40)

What.

A (42:41)

Do you guys want from Mark Guiducci's Vanity Fair? Like what would be fun for you as a consumer of culture?

B (42:50)

I mean, I think it's been interesting. Like Chloe was at Brown when we were at risd. I remember her at school just like being a cute girly who loved her sketchbook and like wore like army fatigue stuff. Like it wasn't. It's interesting to see these people that we're friendly with and who are really playful, like fun to shoot the shit with, like talented people get these roles because I'm hoping, and I think it will be a time for like quick change and fun. I think there it's going to be. Obviously they're political figures and they're very good at, you know, operating in that way. But I also think they're like cunning and have more fun than the generation before them. And for this, like, honestly, my relationship with Vanny De Fair is like airplane beach read. Like I'm not going too hard on it. And I think he'll just make the conversation more relevant. Like instead of touring people's, you know, rich old ladies living rooms, I think it's going to have like a lot more reach and a lot more like interesting questions.

C (44:04)

Totally. I ran into him last night at a. Excuse me. At the Vogue cocktail and he. His enthusiasm around it and some things that he's like plotting sound very intriguing and exciting. And I think just, I think it's just really important to have people who are like, really excited for the work that they're doing and what that like, brings to the table for restructuring to like, similar to Zoe, Vanity Fair was never my magazine. I was more like reading id and that's so I, I'm very, I'm excited to see what he puts together, how it comes forth. But I think there's a lot of vigor and as always mentioned too, like, I did like, quick change in mind to like really put forth a perspective and not to have things feel like, passive. And I, I sudden I'm stoked on whatever Mark is going to put together for it in the coming months and seasonally.

A (44:56)

Yeah, me too. Yeah, I was reading Index and I have to say I'm really into this. Like, Peter Halley has this book and this exhibition in Paris and he did a Q and A with interview this month. Yeah, I know what you mean. Like, I was not a 90s kid only I also really loved Premier magazine, which I wonder if he's looking at the old copies of that. But yeah, I think it's exciting and we'll see what he does with this and how advertisers react. And let's also see how all the photos look because that's going to be a huge part of it. If they look bad and everybody's going to be like, meh. And if they look great, then people are going to be excited. So it's all very good. Zoe, when do you go back home?

B (45:39)

In a few hours.

A (45:41)

Are you all going to Paris at all or are you done for the season?

C (45:45)

Not this season.

B (45:46)

We have some fun travel plans for work in the pipe, but not for Paris.

A (45:52)

Bless you. Thank you both for being here. This was so fun.

B (45:56)

Thank you for having us Flew by.

A (45:58)

Come back soon and congrats again. Thank you on the show. It was great.

C (46:03)

Thank you.

A (46:05)

Fashion People is a presentation of Odyssey in partnership with Puck. This show was produced and edited by Molly Nugent. Special thanks to our executive producers, Puck co founder John Kelly, executive editor Ben Landy and director of editorial operations Gabby Grossman. In addition, additional thanks to the team at Odyssey, JD Crowley, Jenna Weiss Berman and Bob Tabador.

C (46:31)

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