Fashion Is Transformed

Summary

Fashion People — "Fashion Is Transformed" (October 10, 2025)

Podcast Overview

In this post-Fashion Month episode of Fashion People, host Lauren Sherman (Puck’s Fashion and Beauty Memo Line Sheet) welcomes Interview Editor-in-Chief Mel Ottenberg. Together, they deep-dive into what’s genuinely transformative behind the scenes: designer debuts at legendary houses, industry reactions, creative reinventions, and why certain collections set the tone for the coming year. Their conversation is both analytical and conversational, combining insider perspectives, industry anecdotes, and trendspotting with classic fashion banter.

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Key Discussion Points & Insights

[05:19] The Impact of Demna at Gucci

• Reflecting on Predictions: Mel recalls his earlier forecast that Demna would usher in a new era for Gucci:

  "He's going to grow up and leave the over street style, grungy part of Demna behind and do something amazing. And it's like such an amazing once in a lifetime opportunity for, for one of the best designers in the world. And now look what happened." (Mel Ottenberg, 06:15)

• Results Count: Lauren highlights how Demna’s changes translated to real-world sales, especially with revamped staple products:

  "I'm really here for the fact that this Jackie bag, he like fixed this bag and now it's selling out like crazy." (Lauren Sherman, 07:37)

• Swift Success: The duo emphasizes how quickly the executive and creative shifts paid off at Gucci, with a 68% rise in Kering’s stock since new CEO Luca Di Meo’s arrival.

[08:28] Innovative Show Formats: Spike Jonze’s Gucci Film

• Milan Opening: Lauren describes a "chill," glamorous film screening starring Demi Moore and Ed Norton, blending Hollywood with the Runway. Mel applauds the versatility in casting, representing Gucci’s appeal to both "normal" and avant-garde clientele.

[11:16] Elegance’s Return in a Casual Age

• Reframing Elegance: Lauren and Mel discuss growing desire for elegance amid a sea of athleisure:

  "A big theme maybe this season...is like, this idea of elegance, like, defining elegance in this age where we all...just wear stretch pants all day long." (Lauren Sherman, 11:16)

• Mel shares his love of both "trashy" and "elegant," but feels, "Right now it feels like we all need a little bit of elegance because the world is so disgusting." (Mel Ottenberg, 11:39)

[12:34] Designers and the State of the World

• Fashion’s Political Stance: Notably, only Alessandro Michele directly addressed political unrest in his show; most others focused on escapism. Mel and Lauren unpack whether fashion should comment on or shield from broader turmoil.

  "I also don't think that kind of was glad that we were looking at fashion shows with clothes most of the time..." (Mel Ottenberg, 12:45)

[13:35] Jean Paul Gaultier by Duran Lantink: Pushing Boundaries

• Nostalgia & Controversy: Mel shares a formative teen story involving Gaultier, underscoring the brand’s lasting clubwear appeal and stirring "trashiness." Lauren appreciated provocativeness but wanted more for everyday buyers ("a basic bee who lives on the east side of Los Angeles").
• Internet Backlash: Both hosts highlight how internet critiques don’t always reflect on-the-ground impact.

[18:08] D.C. Fashion Connection

• An aside exploring the quirky prevalence of top designers from the greater D.C. area (Michael Rider, Talia Chetrwyd).

[18:22] Michael Rider at Celine: Real Clothes, Real Desire

• Both Mel and Lauren are impressed with Rider’s confident Celine show:

  "There's just a lot of desire for real clothes." (Mel Ottenberg, 18:22)

• Lauren links Rider and other designers’ nostalgic references (Michael Celine, Dario at Versace), noting an ’80s vibe across European and American brands.

[20:52] Versace’s Dario Vitale: Returning to Roots

• A Polarizing Collection: Mel embraces Dario's collection for pushing Versace’s original codes:

  "Have you. Do you know anything before 2018, kid? Cuz this is very Versace and it's cool and I'd like. I want to see Dario cook." (Mel Ottenberg, 20:52)

• Lauren suggests new designers bring fresh perspectives, invigorating sales and the industry.

[26:03] Simone Bellotti at Jil Sander: Modernizing Minimalism

• Lauren and Mel discuss the challenges of updating minimalist brands when their signatures are perennially referenced.
• Mel believes success is determined by "the taste and the codes of Jil Sander," crediting Bellotti with an appropriately subtle update.

[29:55] Jonathan at Dior: Subtle Provocation

• Lauren can’t stop "hemming and hawing" over Jonathan’s new vision at Dior, which challenged expectations.
• Mel, echoing an anonymous CMO, predicts commercial success for the new interpretation:

  "It's the first time that it's been this Dior thing and simple fabrics that's really cool. And we think that the girls are going to go crazy for it." (Mel Ottenberg, 30:32)

[34:12] Loewe’s Jack McCollough & Lazaro Hernandez: A Dynamic Debut

• Mel calls it "the best energy" of the season:

  "...Fast girls, incredible music...It was what I wanted to see and people were loving on it. And it was like a real. That was just a great moment." (Mel Ottenberg, 34:21)

• Lauren notes their fusion of clever design, color, sophistication, and versatility:

  "It looked really sophisticated and cool, but it also fit and looked sexy and relaxed and was easy to put on." (Lauren Sherman, 35:56)

[38:25] Balenciaga’s Transition: A New Kind of Luxury

• Mel praises the new luxury direction, feeling it speaks to consumers left behind by prior creative shifts:

  "I liked how Balenciaga looked very luxury, and it looked very far away from Demna's Balenciaga..." (Mel Ottenberg, 38:28)

• Lauren and Mel agree: details like big glasses and flip-flops felt less relevant; the dresses and pants stole the show, recalling Ghesquière-era innovations.

[42:36] Hermès: The Season’s Leather Muse

• Mel hails Nadège Vanhee-Cybulski’s mastery of the "leather daddy" look, comparing it to the ‘80s film Cruising and applauding the season’s best leatherwork.

[46:02] Chanel: The Show That Changed Everything

• An effusive closing segment, with both hosts declaring Chanel’s runway a potential industry game-changer.
• Mel extols the "loose slouchiness" and fresh take on suits:

  "I was really excited about the Chanel suits and what the suit can be in the modern world. And also we just really need things to change." (Mel Ottenberg, 47:01)

• Lauren identifies the show’s realism and relevance:

  "...this is how people...Low slung. A low slung skirt. A great shirt from Charvet, where we all buy shirts anyway. An awesome jacket and a bag and a pair of shoes..." (Lauren Sherman, 48:39)

• Both agree the casting of the new designer was a bold but perfect choice.

[54:01] The Holy Trinity: Matthieu Blazy, Raf Simons, Peter Mühlbauer

• Lauren calls for greater recognition of three pivotal designers—Matthieu, Raf, and Peter—who have "transformed the way we dress as humans," suggesting their collective influence warrants a book.

[55:05] Prada: Perpetual Innovation

• Both hosts salute Prada/Simons for their unique, thesis-driven work:

  "They're the only people that you look on a Runway and you're like, here's a thesis, a college thesis. No matter what." (Lauren Sherman, 55:28)

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Memorable Quotes and Moments

• On Internet Opinions:

  "Don't listen to the Internet. Come on. It's like also, that always seemed dumb, but also it's fun to just watch someone work and then really tear it." (Mel Ottenberg, 07:14)

• On Versace’s Return:

  "It’s one of my favorite collections. Also. Don’t listen, don’t believe all the hate you read...have you. Do you know anything before 2018, kid? Cuz this is very Versace" (Mel Ottenberg, 20:52)

• On Dior’s Challenge:

  "Dior is just a much harder brand than Chanel...there aren’t that many codes...but...the pure of what he has to work with is so vast and yet so narrow." (Lauren Sherman, 32:20)

• On Loewe’s New Focus:

  "It was what I wanted to see and people were loving on it. And it was like a real. That was just a great moment." (Mel Ottenberg, 34:21)

• On Chanel’s Influence:

  "This is gonna change the industry. I can't even believe it." (Lauren Sherman, 46:02)

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Timestamps for Key Segments

• [05:19] — Demna’s Gucci Transformation & Kering’s Resurgence
• [08:28] — Gucci’s Spike Jonze Film; Chill Glamour at Milan’s Opener
• [11:16] — Elegance’s Comeback: A Big-Theme Season
• [12:34] — Fashion (Not) Addressing Politics
• [13:35] — Jean Paul Gaultier x Duran Lantink: Clubwear & Scandal
• [18:22] — Celine & the D.C. Design Connection
• [20:52] — Versace under Dario Vitale: Early Reviews & Internet Hot Takes
• [26:03] — Jil Sander Minimalism: Modern Problems Updating Classics
• [29:55] — Dior’s New Era: Subtlety, Provocation, and Commercial Promise
• [34:12] — Loewe’s Energy Surge: Fast Fashion Shows & American Luxury
• [38:25] — Balenciaga: The Dawn of a Softer Luxury
• [42:36] — Hermès: Leather, Politics, and Enduring Craft
• [46:02] — Chanel: Industry-Changing Realism & Showmanship
• [54:01] — The Three Masters; A Call for a Retrospective
• [55:05] — Prada: Consistent Innovation and Smart Thesis

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Concluding Notes

Lauren and Mel’s lively back-and-forth captures Fashion Month’s crossroads: The balance of fantasy and practicality, the chaotic digital response to creative risks, and the emergence of new-old classics. Their mutual excitement over Chanel’s "transformative" show and Loewe’s dynamism ends the episode on an optimistic note about what’s possible for industry and culture—even as both are being, in their words, "transformed."

Podcast Tone: Analytical, witty, insider-y, opinionated, and propelled by genuine passion for fashion’s evolving narrative.

For fashion people, by fashion people: If you want to feel the pulse of what’s coming next, this is the episode.

Transcript

[Narrator/Announcer]

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[Lauren Sherman]

Hello and welcome to Fashion People. I'm Lauren Sherman, writer of Puck's Fashion and Beauty Memo Line Sheet, and today with me on the show is Interview Editor in Chief Mel Ottenberg to discuss discuss the best of Fashion Month and plenty more before we get going. I wanted to remind you that if you like this podcast, you'll definitely love Puck, where I send an email called Line Sheet. If you're a fashion person, you get that reference. It's an original look at what's really going on inside the fashion and beauty industries. Line Sheet is scoopy, analytical and above all, fun. Along with me, a subscription to Puck gains you access to an unmatched roster of experts reporting on powerful people and companies in entertainment, media, sports, politics, finance, the art world and Much more. If you're interested listeners of Fashion people get a discount. Just go to Puck News Fashion people to join Puck or start a free trial. Happy Friday everyone. I hope you had a great week back at home or wherever you went. Post Paris I went to Ikea, something some stadium to see him last night with my friend Molly. Shout out to my concert friend Molly. I also went to see one battle after another in Vista Vision. So I'm feeling settled back into my Los Angeles life. I was a little depressed on Tuesday. I thought it might be the comedown from Paris. Usually I'm like very excited to get back, but there is something sad about coming back this week and but then I realized as I was getting my phone repaired at the Americana at Brand in Glendale, which I was like how did I end up here? Realized I didn't have my phone for 24 hours and was not getting the dopamine hit of messaging with you all. So that is probably what it was. I need my phone.

[Mel Ottenberg]

It's.

[Lauren Sherman]

It's part of my job. Anyway, this week on Lime Sheet you'll find plenty of the work I was doing and dming with you about in in Europe on Thursday. I have a bunch of little baby scoops about different things that are happening happening in retail and beyond investors. Who's, who's Nina Christen's investor? I found out for you. And then also I kind of did a tale of two designer debuts and just looking at like the context of Chanel and then also Dior and what those two things mean in the greater fashion industry, that sort of thing. Anyway, usually by this time of the season, I'm kind of sick of talking about fashion shows, but Chanel and Dior and a few others were really consequential and I think will be a big driver of what happens next in the industry. So check that out. We've got plenty more coming next week. And if you have any requests on what you want me to cover, please message I'm always available. Definitely. If you don't have my phone number, just DM me on Instagram or email me at laurenuck News. And let's get going with Mel. As always, it was such a pleasure. Mel Odenberg, welcome back to Fashion People.

[Mel Ottenberg]

Hey Lauren, thanks so much for having me back. Third time. Third time's the charm.

[Lauren Sherman]

I love this. End of Fashion Month, you're on the hook forever. Forever.

[Mel Ottenberg]

I'm really on the hook here. It's hard cause I have to be Switzerland, but I also love to have fun and I'm burned Out beyond comprehension. So the whole thing together is a roller coaster that I really enjoy.

[Lauren Sherman]

Lauren, you're the perfect person for it. Unfortunately, we're not gonna have the drama, I don't think, as we did last year when Demna was announced at Gucci.

[Mel Ottenberg]

Yes, I loved that. Exactly. That was real. And I feel like everything that I predicted has already come true.

[Lauren Sherman]

Lauren, you know what I wish we could do, but I didn't prepare this. Look back at your predictions and we could play them like the dream sequence looking back and then see if you were right. But what do you recall predicting that was correct?

[Mel Ottenberg]

Well, listen, fashion people, listeners, I. Lauren. Okay. Last time, Lauren and I were doing this pod the day after the shows and they announced Demna as the designer. Shock and awe. Wow. Crazy. And I was like, this is. I think, I think I said this. This is going to be really good. He's going to do a really good job. He's going to grow up and leave the like, the like over street style, grungy part of Demna behind and do something amazing. And it's like such an amazing once in a lifetime opportunity for, for one of the best designers in the world. And now look what happened. Gucci. Oh, and then everyone, then on everyone online, I want to remind everyone of this. I want to remind all the listeners. Everyone online starts being like, caring. Stock drops. You know, caring is in trouble because of Demna. It's all Demna. It's all because of Demna because they've made such a horrible business decision. Don't listen to the Internet.

[Lauren Sherman]

Don't listen to the Internet.

[Mel Ottenberg]

Come on. It's like also, that always seemed dumb, but also it's. It's fun to just watch someone work and then really tear it. And six months later, the, the last couple, the last 10 years of Gucci, frankly, the, the amazing and the not so amazing have been sort of cleared out for a new vision. And that's really impressive and I'm really here for it.

[Lauren Sherman]

I am really here for it. Also really here for the fact that this Jackie bag, he. He like fixed this bag and now it's selling out like crazy. So not only was the collection good and the. The presentation respectable and interesting and got people talking, but like the product is selling, which is exactly what you want. And you know, the, the Kering stock is up like 68% since the arrival of CEO Luca Di Meo, who is. Was out and about in Fashion Week. We're big fans. He. He was, he's pretty fab. Double breasted suit Absolutely.

[Mel Ottenberg]

It's working. And in the speed of light. I mean, six months ago, Demna was doing his last gigantic Balenciaga show, and now he's changed Gucci and the bags are selling like crazy.

[Lauren Sherman]

What to you A Did you have fun at the movie by Spike Jonze and baby girl director? I think her name is Hajean. Is that how you pronounce it? Were you there? Did you get in town yet already?

[Mel Ottenberg]

Well, I. I actually didn't. I didn't get to Milan until the very end.

[Lauren Sherman]

Halina. Halina Raine is her name.

[Mel Ottenberg]

I didn't get. I saw it in New York, which is crazy. And I had major fomo. What I mostly had FOMO about was just the glamour of the. Of. Of all the stars and the red carpet and all that. It just looked so good. Yes, I saw the movie, but in New York and not there. And it looked like such a moment. And it was so confident and smart.

[Lauren Sherman]

You know, it was really cute and fun and very relaxed. Like, they had a big Runway thing with. For Demi and Gwyneth and all those people. But like, it was really the. All the executives were just hanging out. Demna was just hanging out. Like Spike Jones was there. It was very, very chill. And then it was 30 minutes. 30 minutes. Little short film that was weird with actually good performances. And it was fun and it really displayed the clothes. And I'm sure they did this in New York, too. They had models, like, sitting in the audience in the looks that were on screen. I don't know if they did that in New York, but it was really smart. It made it feel very three dimensional or four dimensional. It was. It was super. It was a really nice way to kick off Milan Fashion Week, which feels like the beginning of all of this.

[Mel Ottenberg]

Absolutely. I also want to say what I also thought was really cool was doing really over the top beaded thing on Demi Moore and then like a really straight, normal suit on Ed Norton. Like, having Ed Norton in the mix of this is so genius because it shows this, like, really straight, normal Hollywood guy that's never going to take a chance looking great in this brand too. You know what I mean? It, like, really signifies this solid thing that can be for a lot of different people. Yeah, it's very good. Very smart.

[Lauren Sherman]

What direction do you think he's going to take the Runway?

[Mel Ottenberg]

I think he's going to. I don't know. I think he's. I. Well, I'm not really thinking less so much about the Runway as I think that the clothes. There's Gonna be a really adult thing that we're all gonna want.

[Lauren Sherman]

Yeah.

[Mel Ottenberg]

I think there's gonna be tailoring that we all want. I think there's gonna be real desire for real clothes mixed in with the fantasy.

[Lauren Sherman]

Yeah. I think a big theme maybe this season or just generally is like, this idea of elegance, like, defining elegance in this age where we all. I mean, we don't. But, like, a lot of people just wear stretch pants all day long.

[Mel Ottenberg]

Yeah.

[Lauren Sherman]

I wore my Mel Jeans yesterday to school drop off, by the way.

[Mel Ottenberg]

Thank you. I really appreciate that. I bet your butt looked really good. I. Yeah, I, I, you know, I love trashy. I love elegant. Right now it feels like we all need a little bit of elegance because the world is so disgusting.

[Lauren Sherman]

Yeah. What did you think about the fact that really no designers other than Alessandra Michele addressed what was happening in the world? It didn't bother me because I'm like, when I'm in Europe, I'm also in a whole other. Like, I basically am living a double life, having a different. I'm in a totally different mind space than in my real life. So I wasn't thinking in the context of that, but it was interesting. There was no other designer that I talked to or heard about that like, literally commented on what's happening in the world right now, which is. Is. Is real, real, really bad.

[Mel Ottenberg]

Yeah. And also, you know, we think as Americans that it's all us and any. And in the many conversations that I have with Europeans, it's not really just. It's so bad in America right now.

[Narrator/Announcer]

I mean.

[Mel Ottenberg]

Yeah, my personal opinion is it's very bad. All European conversations reminded me that it's not much better there, you know, so it's not. It's really. It's really a spreading problem. Fascism. And. And kudos to Alessandro for. For addressing that. I also don't think that kind of was glad that we were looking at fashion shows with clothes most of the time, because if you can't, if you, if you're just worrying about. Address that, I think it just inhibits people from actually getting the job done that they have to get done. And I think that it's really important for culture and fashion and stuff to stay alive in this, you know, bullshit present that we're in.

[Lauren Sherman]

Yeah. Okay. So jumping over to a collection that really wasn't about clothes, that was very interesting in Paris. Jean Paul Gaultier, Duran, Lantic. What did you think about this collection? As. I have thoughts, but I'm curious, you know, it's sort of the Opposite of what you're talking about. It wasn't really. I can't think of one look that I know how they're gonna sort of translate that to something someone would actually wear.

[Mel Ottenberg]

Well, as a. When I was a. When I was in 10th grade, I discovered Junior Gaultier. Maybe it came out when I was in 10th grade. I just remember realizing it existed and that I could buy $110 Jean Paul Gaultier T shirt. And. And then I was, like, made fun of. And I snuck out and I went to nightclub. I used to sneak out and go to clubs. And these other kids in the nightclub were making fun of me for wearing Junior Gaultier because it wasn't real Gaultier. I mean, these.

[Lauren Sherman]

Wait, wait.

[Mel Ottenberg]

Mean. Mean World Washington D.C. club. And these kids, I guess, you know, did whatever they had to do to get the Runway stuff. But anyway, true story. But then I was like, okay, that was. I feel like it was really cute that he was doing this Junior Gaultier moment that was very Gaultier, but like a more playful, serious, and wearable, more commercial, like, lower line stuff. And so I. I didn't do. I haven't seen what the commercial collection is, but I think it's fun to go in that sort of club wear stretchy, you know, cut and sew kind of direction. And I think that the Runway show was very evocative of the spirit of Jean Paul Gaultier. And I thought it was really funny and fun. And also for me, the. By the way, I'm. If you feel the absolute opposite and thing is the most disgusting show ever, I think that that's great. I just think it's cool. For the more Internet and real life scolds about the show, the more I think it's really fun for whoever really gets into this. You know, that's like, this is not for everyone else. You guys are all classy. I want to be trashy in this stuff.

[Lauren Sherman]

Yeah. My feeling about it. I loved his final collection for his brand where he sent out, like, it was very, like, skewed patrician clothing. And then he put a man in rubber boobs and a woman in a ch. Like, I thought it was funny and enjoyed it. This. Okay, so this is my feeling. It was very slick, and I love the red and white striped little molded piece because I could see as. As someone who was not wearing Jean Paul Gaultier to clubs outside of the greater D.C. metropolitan area in the early 90s, I could see the goate. Like, I. It felt there was something there. I wished that there was, like, a Little. I think it's funny and gross and interesting and. And in a way that made. And. And he's very. It was very tight. So I think that, like, Becky and I were talking about Jody Barnes the other day on. On the pod. I think Jody Barnes is just such. Such a good stylist. But. Yeah, but I. I wish there was a little bit more for me, like a basic bee who lives on the east side of Los Angeles to hook into, because I do find the commentary. But it was a good. I think it was like an amazing first start and really interesting that you are from D.C. cause I. There is something going on. There's like a whole crew of. My bff, Leah Chernikov is also from the area and talking to Siddhartha Shukla, who's at Lamba Inn right now. He's from there. And then obviously Michael Ryder is a D.C. guy.

[Mel Ottenberg]

Yes, he is.

[Lauren Sherman]

So let's. You're from the same place.

[Mel Ottenberg]

Talia Chetwyd. Michael Ryder and I are from the exact same area. And Talia Chetwyd, a photographer that's very in demand, is also from there. And our siblings were friends in elementary school.

[Lauren Sherman]

What do we think is happening? That there's this like, little cluster of D.C. there's not one. There's not a Pittsburgh crew?

[Mel Ottenberg]

I don't know. I don't know. I have no answer for that. This is, this is like. This is like when Russia came out of the blue. You know what I mean? Like, what's going on here?

[Lauren Sherman]

I think it's probably nothing. And it's just like there are four of you that. That are within the 10 year age range of each other. Okay. But let's talk Celine. What did you think about your hometown hero?

[Mel Ottenberg]

I. Yeah, I thought it was great. And honestly, when Michael and I realized that we were from the exact, exact, exact same neighborhood, I was like, dam. Damn. Okay. What? What? Oh, wow. Okay. But yes. Long way from D.C. i was so impressed with the Celine show with his second show. It looked. It looked great. I liked the. The evolution from the summer to this fall is really confident. The clothes looked great. The men's look great. The women's look great. The. The way the looks were put together looked great. There was just a lot of desire for real clothes. I would also say. I want to just say I love the Gaultier thing. I love the fantasy. But I'm also on the flip side really looking for real clothes that look good, that people would want to buy, that are. That are going to change someone's life a little. Bit for the better. And that was. That whole show looks so good.

[Lauren Sherman]

Totally. And this is what you do with your magazine. I got home late, early, early morning yesterday and was greeted to a lot of print media sent to me. And I got the Sabrina Carpenter issue of Interview. And I was just looking through it and it's just the paper stock, the size, but also just every single thing you put in there is just so fun. It's so fun to read. It really does feel like a newspaper of our culture right now. And it just feels so good. So like I see it in your magazine that you're looking for the fantasy but also the reality of how we live now. And I thought Michael did a good job of that too. The other interesting thing that's happening with all these guys and one lady is that they're all like. So many of the designers right now are born between 80 and 84. I'm 82, so I feel like very connected. And I saw a connection between Michael Celine and Dario Vitale at. At Versace in that like this was Versace. Obviously happened before the second Celine collection, but the first Celine collection reminded me of like 1980s New York. Willi Smith with Spiegel catalog, Americanism and then Dario with Versace. It was like 1980s Milan. What his mom wore, what kids were wearing then. What did you think of Versace?

[Mel Ottenberg]

I'm totally into Versace. I also sadly, was not in Milan then. Like I had this. I just had some stuff going on that I couldn't be there until the very end. So many editors were like, I can't believe you are not at Versace. I looked for you because it was so you and it really is. I love it. I love it. It's one of my favorite. It's one of my favorite collections. Also. Don't listen, don't believe all the hate you read on. You see on the Internet. There's all these corny people. I'm sorry for calling you corny people, but. But like people being like, it's not Versace. It's like, have you. Do you know anything before 2018, kid? Cuz this is very Versace and it's cool and I'd love, I'd like. I want to see Dario cook. I think he's good and I hope he gets the chance to cook because that is cool. And Versace hasn't looked cool like that in a long time. And it's Johnny Versace who's really one of the greatest designers of my lifetime and, and has been pretty dormant for a While. Because Donatello Versace is. Is a designer that we respect and love very much, too, and never really did Johnny Versace, her brother, for, you know, reasons that make sense, you know, but this guy Dario is going right back to the OG and taking Inspo from that. And it's one of the greatest places for Inspo ever. Yes.

[Lauren Sherman]

Yes, A hundred percent. It was so great, so fun. It made me so happy. In the last two years, something has happened on the Internet where there are these instant reactions of. And this has always existed, but it's. It's more intense now. And it's funny because there's no more Twitter. So I don't understand. Sometimes I'm like, how do I even know that people don't like or people like this collection? Because I'm not on Twitter anymore. I used to be on Twitter constantly, and I haven't been on Twitter in three years or whatever, so. But there's like a visceral instinct to sort of explode on something. And a lot of it is happening to me on, like, Instagram, dm. People just being like, this is sucks. This is the worst. This is blah, blah, blah. And it's like, pull back and just let it happen. And see, I it. The Dario thing really reminded me of Alessandro's first Gucci collection because I was not in Milan and seeing it online, I remember thinking, like, whoa, this is not good. And I, I. And then you realize, like, it's genius and it's going to change fashion forever. I don't know if Dario's collection is going to change fashion forever, but what it did make me feel was like, okay, this is a new, new proposition. And kids are gonna wanna buy these jeans and women are gonna wanna buy these dresses, and everyone's gonna wanna buy these shoes, and we need, like, we need to feel something. And that's what I think. What he did that and Demna was the Gucci premiere was amazing. You just felt like he got this. Demna is on it. But to have Versace a couple days later and to have a new person come in and remember that, like, oh, not everyone has the exact same pov. He's, like, only entering the system as a creative director. So there is all this newness of how he's approaching it, and I just loved it. I was so happy for everyone involved that it was great. I was happy for Donatella. I was happy for Dario. I was happy for Mutual Prada. I was happy for the executives of Versace. I just think, like, they have a real chance to transform that business with. With him. And it just felt so good. And I hope that like everybody starts wearing teal capri pants or whatever.

[Mel Ottenberg]

I that would be ironic if everyone starts wearing look one of Versace because everyone hated on that look so much.

[Lauren Sherman]

It was my favorite personally. But yes, I agree.

[Mel Ottenberg]

I'm here for it. I think it's really interesting and it's definitely done with a sense of humor to the whole thing, which I think is great.

[Lauren Sherman]

Yeah.

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[Lauren Sherman]

So another kind of iconic brand that was reconstituted with a lot of homage to earlier era was Jill Sander, which Simone Bellotti, who was our bally bro, was recruited by otb taken there. And he really took, I'd say, like the essence. He was really looking at 90s Jill Sander for, from, from what I could tell from, from inspiration and like trying to figure out, like, what does this brand mean in this era? What do you think? Like, because I've been talking a lot about minimalism and it's so hard with these brands of that time because they are so referenced now and have been. They never, people never stopped referencing Jill Sander and Helmut Lang and Margiela and Calvin and all of that stuff. And so to modernize them and make them feel like they are of this time and not just a copy of the past is really complicated. I'm curious what you think of what he did, but also like just approaching those kinds of brands generally and how to make it work.

[Mel Ottenberg]

I think that for all of these brands, it really just depends on who the creative director is and if it's a good casting. I think that he is well cast for Jill Sander. It just, it just makes sense for him to be there. I, I think that it's. To me, it's important to remember the taste and the codes of Jill Sander because it's so signature. What's the point of the brand existing if it's, like, some completely different thing? Because also all of her tastes and codes and all that, there's still so much room in. In fashion, in people's wardrobes for that, you know?

[Lauren Sherman]

Yeah.

[Mel Ottenberg]

It's like, it just sort of works. Like, I. I want to see. I want to see clean lines and minimalism from Jill Sander period. That's what I want to see. I want to see there's room for artistic stuff and segues, but, like, at the. At the end of the day, that's what I think the business should be for that brand. For that brand to be a success. And I. And I think he's well cast, and the show looked cool.

[Lauren Sherman]

Yeah. Yes. Yeah. I like him. It was good. I feel like we've talked about it way too much on this podcast, so we can move on. Jacob and I talked about it for, like, 30 minutes. Becky and I discussed it. We've done enough for the Jill Sander brand for now.

[Mel Ottenberg]

I really. I was talking to Simone about the collection at the Valentino show, and I'm so tired that I can't even remember what he said.

[Lauren Sherman]

But I know I. I also went backstage. No, I mean, I went backstage, and he. He had a very nice presentation of what he did, and huge respect. I. I think I'm excited for next season, for that one. I think it will be. He's really good. Like, he doesn't have the. You can tell he's not, like, super comfortable being a creative director in terms of, like, being out, out and about. Like, he's just a dude. Like, it's not like he's, like, wants to be on the red carpet at the BOF 500 or whatever, but. Which is an interesting thing to just see that develop. But I think he's done. He's just so confident about his abilities that that part of it is shining through. And it's an interesting. It's fun to see all these people, like, in these new roles and how they manage them.

[Mel Ottenberg]

Yeah.

[Lauren Sherman]

Speaking of, let's talk about Dior quickly and what Jonathan did there and what you think he's trying to accomplish, because he made a lot of people think. That's what I would say. Like, there was a lot. I can't stop thinking about it. I can't stop kind of hemming and hawing over whether or not I liked it or not or what parts of it I liked and what I didn't. I think he really, like, touched a nerve, and that's gutsy at A big brand like that where he could have just sent down a bunch of very cute bar jackets and we would have all been like, ah.

[Mel Ottenberg]

I was talking to a CMO of a big store, like a big department store who's really into it, who we were talking about like the mini skirts, all the short stuff, both the poof and the sort of like simple Brandy Melville vibe. But like he was saying like, oh, all this stuff's going to do so well for us. We're buying in really big for this because it's the first time that it's been this Dior thing and simple fabrics that's really cool. And we think that the girls are going to go crazy for it. Those were the, those are the looks that I've been most thinking about. Those like mini skirt, tiny poof things. I think that's really cool. And I, I just think, I think it's gonna do well. I think it's gonna be a thing that's a really hard, that's a hard brand. And he's like, I don't know, I just think he's gonna do good stuff there.

[Lauren Sherman]

He, I mean he's brilliant. He's gonna do good stuff. I love this personally love the shoes. And I will buy a pair of them. Like they were, they were really good. And I'm interested, I'm interested in a bar jacket. Like I would like to see what his commercial proposal for the bar jacket is. And maybe I've been looking for bar jackets on the realreal. I want one. Like, I feel like that silhouette is like a little curvier. That's what I'm looking for right now is like a little bit of an hourglass silhouette in a jacket. And I would like to see like, I know he did them kind of, I don't want to say deconstructed, but in a different shape. I would like to see what his like classic take on the bar jacket is. And, and I'm sure that'll be in stores. But, but he really pushed it and that it is just such. I was talking to my boss about this and you'll read about this in line sheet on Thursday. Dior is just a much harder brand than Chanel. Like not, not taking away from the amazingness of Chanel, which we will leave for the grand finale. And I'm still can't get over it. I just can't stop thinking about it. But Dior is a hard brand. There aren't that many codes and it was a 10 year period where and then you have this Like, John Galliano era, you have Maria Grazia era, you have Raph era. But, like, what he had, the, like, pure of what he has to work with is so vast and yet so narrow. And there's so much. I mean, also, this is the first time it's been sort of all together. There was one Dior. The one Dior strategy is finally kind of coming through. I find him incredibly compelling and just amazing. Like, think about. You call Adam Curtis and you say, I want to do a documentary about this house and I'm going to display it at a Runway show in front of all my bosses and the world. And that's like fucking gutsy shit. Like, I'm just. He's. He's amazing. He's really amazing.

[Mel Ottenberg]

I loved the. I loved the Adam Curtis doc thing at the beginning. I. I don't know. I really can't stop thinking about the show. And I'm more. Even some of the stuff that I wasn't as into, I'm really into now. And I. And I can't wait to start playing with it because, yeah, I'm just a fan and I. And I think it's one of the most interesting shows it's going to be.

[Lauren Sherman]

I see it in interview so, so clearly. Like, I see you.

[Mel Ottenberg]

Me too. Me too.

[Lauren Sherman]

Okay, so. So back on Jonathan's old stomping ground, where.

[Mel Ottenberg]

Oh, yeah.

[Lauren Sherman]

Where the. The American guys. They did it. They did an exclamation point.

[Mel Ottenberg]

They did an exclamation point. I will say I haven't felt energy, like, just real fast fashion show energy. Like the energy that at Jack McCullough and Lazaro Hernandez is first Louisville show all year. Like, that felt like the best energy. Fast girls, incredible music. I really like the clothes. It was what I wanted to see and people were loving on it. And it was like a real. That was just a great moment.

[Lauren Sherman]

I love the clothes. I love the booty shoes. Apparently someone told me they're going to have six. The little booty shoes. They'll come with six different colored socks so you can swipe them in and out, which is such a little clever idea. I love that. I love them. I love the bags. Like, they took this bag called the. I think it's the Amazona, because I looked it up and I was like, oh, what bag is that? It's a bag that's been around low IV forever, but they softened it up. And the thing that they are so good at, I mean, color, obviously, shape, obviously. Clear ideas, obviously. Like, this is all the stuff that really came to the forefront. But the other thing that they are very good at is like that sort of. Becky talks about this a lot because she does a lot of personal styling. She has clients and I hear it from friends of mine who are like industry adjacent or don't work in the industry but are interested in fashion. Like the reason people liked Proenza Schooler and shopping it was that it looked really sophisticated and cool, but it also fit and looked sexy and relaxed and was easy to put on. And I thought the dresses that they did with the Loewe scarves, like the black dress, which is like so every woman in Spain, all they wear is black dresses with like the bright scarf kind of coming out. It felt very Jack and Lazaro but also of, of Loewe and that like loosh like relaxed thing, even though very sporty. And that bag that they did, which is like a box bag, they made it very it. Like I could see everyone's looking for a laptop bag right now. I could see women carrying that as their main bag. It's almost like a, a relaxed suitcase or something. I was very, I was just of course happy for them, but also just very impressed. And I really liked it. Like I wanted stuff.

[Mel Ottenberg]

Me too.

[Lauren Sherman]

And that, that feels good.

[Mel Ottenberg]

Yeah, I really liked the. I went and did a re. See and the quality is so cool. And there's just, I don't know, there's just very graphic. It feels like very American luxury to me as well. American luxury fashion like, which is incredible when it works and, and it was just a great moment and it's a great question.

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[Lauren Sherman]

Should we talk Balenciaga real quick?

[Mel Ottenberg]

Balenciaga. I love Balenciaga. Some people really didn't like Balenciaga that are, like, in my trusted circle people. I really liked it. I just thought. I thought of my mother when I was at the Balenciaga show. My mother is, you know, someone who always shopped fashion and felt abandoned by fashion when Consuela left Marnie and Phoebe left Celine and just was like, I don't know what to shop anymore. I don't know what to look for at Burgdorfs and Saks and stuff. And so then I just felt like I liked how Balenciaga looked very luxury, and it looked very far away from. It looked very far away from Demna's Balenciaga, which I was always a big fan of. I agree with you. I was reading. I was reading the line sheet, and I think that some call outs, like the. The big glasses and the flip flops, which I don't think they're not pure polo. They kind of are very pure polo, but they're also very Demna. And I. And I would have loved to have not seen those things. Just, like, I'm really into things that are just gonna feel real different from what they felt like a year ago. Like, it's. It's 20, 25. Like, let's push it all forward to make someone die to go shopping.

[Lauren Sherman]

Yes.

[Mel Ottenberg]

We need to make people be like, oh, all my stuff sucks. I need to start anew.

[Lauren Sherman]

Yeah. Yeah. I was talking to a person we both know and love who's a former editor in chief who has, like, the best taste ever. And she was saying. She's like, I love that first look. I would wear this in a second. And I think, yeah, the glasses and the flip flops, I agree. I could see him doing that on a Valentino Runway. Easy. It just, to me, took me out of it. I was like, I don't need this from you right now. I need these dresses from you. And he delivered on those. And I also think there was this one dress that. The dress, it was like an archival 60s print, but it was knitted together. It was like a knit dress in the middle. And I wanted to ask about it. Cathy Horne asked first, so she won. And she also knew it was a 60s archival print from the Balenciaga archives, which I would have not known. But that was the dress, to me, that I was like, oh, shit. This dress doesn't, like, fit with the rest of the dresses in a way, but, like, this is what, to me is what he shows, what he's capable of and what's special about him. And I just thought. I thought that the dresses were gorgeous, and I also loved that they did it at the Kering headquarters. I thought, I love that space. That was where they did the Demna exhibition. And I also just. I love the caring headquarters. They're so amazing. And it's just like this, you know, ancient building. And it felt like it wasn't the smallest show in the world, but it was. It was. It felt very intimate. And I thought that they did a really good job, like, presenting it in a. Like, we need peaceful transitions of power. And that was a good. A good example of. Of one, for sure. And I was just happy for him. And also, I think, like, they have an amazing. They have amazing merchants there. Natalie, who's run. Who's their deputy CEO, She's a really good merchant. Like, they're gonna do well with the bags and the shoes and all that stuff. That stuff's gonna keep ticking. And now they're gonna have this, like, new dress customer that Demna was. Was surely courting, but now that's gonna just break open for them. The men's is gonna be interesting. The men's is gonna be really interesting.

[Mel Ottenberg]

Absolutely. I also thought the pants were incredible. Those were the. I thought the. The Balenciager pants, I thought were the best pants of the season. They were like a real Nicolas Ghesquier 20 years ago Pant throwback. That was so smart. I thought there was a lot that I really, really like in that show.

[Lauren Sherman]

It was a strong. A strong debut. Okay, so what are we. What. What else?

[Mel Ottenberg]

Wait, what? Let me. Let me. Let me look back on my list. Okay. Hermes.

[Lauren Sherman]

Oh, Hermes. Yes.

[Mel Ottenberg]

I want to. Yeah. Our girl Nadesh. I wanted to shout out the leather daddy. He is the muse of the season. It's like Cruising. Cruising, the William Friedkin movie from 1980s starring Al Pacino as a cop that's going undercover in New York's gay leather daddy scene to find a serial killer.

[Lauren Sherman]

Great movie.

[Mel Ottenberg]

That is like the. That is like, the theme of the season. It's so crazy. Maybe. Maybe it's just, like. Maybe that does speak to the politics of the times and how, like, the. The gays are being stomped out by all. All the assholes in power. I don't know if that was intentional, but it's, like, this big. And I also don't know if every woman wants to dress like that. But I do love a hardcore, you know, Grace Jones 80s look, and so does everybody else, it seems. But I really thought that Nadesh at Hermes did some of the best leather. It was, like, really good leather mini dress, really good leather tops, bustier pants. Like, I thought that was some of the best leather stuff around.

[Lauren Sherman]

The other thing that is really interesting, I've been thinking about a lot this season, because there are. So there's Hermes, there's Loewe, there's Bottega. They're all, like, leather goods houses. And. And they tend to have a lot of leather on the Runway. And what Nadesh has managed to do, it's really hard to make that not look super heavy. And I thought. I thought Loewe did that too. That, like, there was a lot of heavy stuff on that Runway, but you couldn't tell because of the way they, like, made it look. But I thought what she did this season, and each season, she sort of gets better at this. This felt very light to me. Like, she used all those, like, quilted cottons, those printed quilted cottons, and that sort of gave it a lightness that is really hard to pull off when you are showing, like, a piece of leather clothing in pretty much every single look. And she's. She's amazing. I mean, she's been there for over a decade, and it is interesting to think about when she got there. I feel like people were sort of like, okay, whatever. She came from the real. And Celine, and they just. They hired her. Cause she's, like, of that world. And she really has given it its own identity and, like, a sharpness and a very particular kind of sexiness that I think is necessary and is only the kind that a woman could sort of pull off, which is. And there. There obviously aren't that many. You know, it's so funny. Like, every. I've gotten a lot of messages from people being like, why aren't you talking more about the women designing? And I'm like, yeah, it's shitty that there aren't that many. But also, I think, like, the ones that are. Are really, really strong. And she is. She's sort of the leading. She's just like a great role model for all of us when she comes out at the end of the show.

[Mel Ottenberg]

Very confident.

[Lauren Sherman]

Yes.

[Mel Ottenberg]

And again, really some of the very best leather in a season where everyone's really doing and pushing leather. Some of the best. I think the last thing on my 10 shows is Chanel.

[Lauren Sherman]

The only thing that matters anymore I completely melted and died. I was like, this is the best. I was telling our team I was in slack. I was like, freaking out. I never care. I care. But I'm like, whatever, it's a show. I was like, guys, this is gonna change the industry. I can't even believe it. I was so happy. I. I can't believe.

[Mel Ottenberg]

Is that because. Is it this? Okay. The set's obviously amazing. It was so incredible. I do want to say the set really was incredible. And what was amazing, this isn't industry changing stuff, the beginning stuff. But like, the set was so sick and like the way they used the ground play, which I've been to so many show. Chanel shows there. It was like, seemed bigger than ever, but probably a tighter by far, a tighter guest list than ever. So it just felt massive. Wow. And. And I really felt like the. The loose slouchiness felt really modern.

[Lauren Sherman]

Yeah.

[Mel Ottenberg]

And that there was a lot of. I just was really excited about the Chanel suits and what the suit can be in the modern world. And also we just really need things to change. Like, we really need clothes to look different. And I saw a lot of looks on the Chanel Runway that were very, very luxurious, but they also really look like how women that I know dress for themselves and for other women and stuff. And I really appreciated that.

[Lauren Sherman]

I agree. I. I felt like the thing I didn't expect, I thought I had heard people who saw it or claimed they saw, you know, that type of thing, that it was very minimal and that it was like very pared down compared to what we've seen from Chanel for the last 50 years or whatever. And I didn't find it to be that at all. But what it was, it was a proposition. Like, I was thinking about Matthieu's last show at Bottega, which was so much about like this. This fantasy of what you dressed, what you had dressed like when you grew up. And I really connected to that. His final show there, it was like it was kids in grown up outfits going to work or whatever. Like very working girl. And I felt very emotional to me. And it's funny, like, we didn't. We had no idea it was his. His last show. I don't think. I don't remember.

[Mel Ottenberg]

No, we didn't.

[Lauren Sherman]

But I just remember being like, oh, this feels so. I feel so connected to this. But this. The difference with what he has done here is it was. It was very grounded in reality. Like, there isn't. It wasn't really a fantasy. It was the set was a fantasy and the kind of grandness was a fantasy. And I love that he did that. I love that they had a really big show. I love that he was like, I'm gonna spend a ton of money on the set. I'm not. I'm gonna do it like, this is Chanel. I need to pay homage to this amazing house and what Carl did and what Virginie did and what Chanel did and all of that. But then the clothes themselves, I was like, oh, this is how people. Low slung. A low slung skirt. A great shirt from Charvet, where we all buy shirts anyway. An awesome jacket and a bag and a pair of shoes and like in the world we live in now where people don't dress up, where people don't. They buy fancy gowns and wear sweatpants. Like, this is a way forward. And I was just blown away by it. I loved it so much. I was like, how am I going to buy a jacket? I haven't felt that way about a collection in since I was a kid. And it felt like he's so humble and has so much. They pick the right person. Like, that's the thing that's amazing to me is that they had the understanding of this is the right person for this job. The one thing I will say is that I'm curious to see what the shoes and bags look like in IRL and how they merchandise them and all of that, because that's such an amazing business for them. But I think overall I was just so grateful and happy that, like, we can go, we can move on and that fashion can still be a part of your life. Because the one thing I will. The, the one thing I kept feeling this week was that, like, maybe fashion isn't gonna be as big of a part of everyone's life. And I think that still might be true. But he gave a proposal of how it can be and that felt so good. And also playing the Dawson's Creek theme song, which. Why not?

[Mel Ottenberg]

And also Rhythm as a dancer, which is a song that I love going back to. That's. That's definitely the same year as when I was made fun of for wearing Junior Gaultier 1992.

[Lauren Sherman]

I did a dance choreography to that.

[Mel Ottenberg]

Oh, wow.

[Lauren Sherman]

I love that. Second grade.

[Mel Ottenberg]

Yeah, I love that. That's incredible. I. Yeah, I'm excited about that. I thought the shoes looked cool. The bags, most of the bags I missed in the mix of the galaxy and all the clothing proposals that, like, I don't really have a connection to the bags yet, but I was definitely And I was definitely seeing people hating on the car crash bag and also thinking, oh, this is such a status thing for the girls, the best girls to get this bag. Like, all these things can exist at one time. And again, don't believe everything the Internet says. Just. Just if you're. And also, hey, if you're into it, don't be ashamed of that. Like, if you hate it, there's no reason to. There's no reason not to hate on stuff in fashion. I'm not. I'm not saying that. I just mean, like, just because a few people on the Internet are really loud about hating something doesn't mean it's bad or good.

[Lauren Sherman]

I just have to say, I don't understand how anyone could say anything. But this collection was awesome. And anyone. This is. This is why the Internet is bad sometimes.

[Mel Ottenberg]

Yeah. Also, it really was. It's not all about being there and being invited to this very small world that Lauren and I are both a part of. But, man, sometimes you are invited to something like this and you're like, wow, I'm really. This is exciting. Like, I actually have chills saying this out loud now because it really did feel like, wow, Damn, we're here. And this is really cool. It's cool. Cool.

[Lauren Sherman]

Yeah.

[Mel Ottenberg]

It's cool that someone I know is the designer of Chanel. Like, Chanel's such a big.

[Lauren Sherman]

Yeah.

[Mel Ottenberg]

Thing. I don't know. Maybe. I know you said that you think it's easier than Dior. Yeah, I guess. No, I guess it is. It's easier. It's easier to get. It's easier than Dior, but it's a much harder club to become a member of or to become the head of. Like, that is hard. But if you get there, the keys to the kingdom are yours, you know?

[Lauren Sherman]

Yeah. Let me see what I said to my boss. I said, oh. I said, yeah, basically, like, there are fewer ingredients, but, like, it's a bigger job in a way. Like, it's a scarier job because it's Chanel. It's the biggest fashion brand in the world. But there are so many ingredients. So, like, he has so much to work with, but you have to. That's a very particular personality. Can we please just shout out these three guys that have. Have transformed the way we dress as humans? Mattieu, Raph, and Peter Mueller Mule. I don't know. I'm not gonna try.

[Mel Ottenberg]

Peter, Raph, and Matthieu. It's really amazing.

[Lauren Sherman]

I love them also.

[Mel Ottenberg]

Those guys have had highs and lows and ups and downs and changes. And blah, blah, blah. And now they're really all on top of. It's so cool.

[Lauren Sherman]

They have really. I. Anyone. I always talk about this piece, but there was. Osman Ahmed did a piece. I want to say maybe it was in, like, the old ID rip of it was. Or maybe it was another magazine or something. I'm sorry, everyone involved, but there is a really amazing conversation between the three of them that is incredible. And I just, like, shout out really quick to Alaia too, because that was a highlight for me. The three of them and they. And seeing them all broken apart, you see, with, like, the elements of each of what they do. And I. I just. I feel like someone should write a book about the three of them.

[Mel Ottenberg]

Also shout out to Prada, which was also so great. It was just a time that we're talking about all this new stuff. But the Prada shows really good. And one of. Definitely in my top 10. Even though we already had top 10. Well, that's. That's one of the ones I'll be, like, the most excited about. And Prada's sort of. Actually, Prada was really good. It's hard to make a top 10.

[Lauren Sherman]

It's hard to make a top. I look like, here's the thing about Prada. They are the two smartest people who are designing clothes today. Like, they're the only people that you look on a Runway and you're like, here's a thesis, a college thesis. No matter what. Like, no matter how simple it is, there is like, a real college thesis of what? You don't need them to explain to you what they meant. You could see it. I don't know how they do it. It's amazing. But I think, like, she is in a class of her own. And the three, the three of them, it just has been. It's really defined, like, how I dress and also informed my understanding about the fashion industry by seeing their three careers sort of develop and move apart. But Yeah, I mean, 12 is okay. Top 10, top five. We didn't actually do a ranking. Mel, next year let's pre. We're gonna pre rank because I have to tell you, I did a little ranking of my top five debuts. People got mad.

[Mel Ottenberg]

I love that I. I once did a top three Madonna albums of all time, because three is really harder than five. And I basically was getting death threats from my friends.

[Lauren Sherman]

It's crazy.

[Mel Ottenberg]

We gotta do it.

[Lauren Sherman]

We're gonna do it next season. Mel, you're the best. Have an amazing time in London. I'll see you in New York. Soon, I'm sure.

[Mel Ottenberg]

All right, bye. So happy Fashion Week to everyone. Always fun talking to you, Lauren.

[Lauren Sherman]

Happy Fashion Week. 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. An additional thanks to the team at Odyssey, JD Crowley, Genois Berman and Fox. Bob Tabador, Limu Gamu and Doug Limu. And I always tell you to customize your car insurance and save hundreds with Liberty Mutual. But now we want you to feel it. Cue the emu music. Limu. Save yourself money today. Increase your wealth. Customize and save. We say that may have been too much feeling.

[Mel Ottenberg]

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[Lauren Sherman]

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[Mel Ottenberg]

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