An Exciting Vogue World Announcement! | PLUS How Costume Designer Arianne Phillips Creates Your Favorite Looks on Film

Summary

The Run-Through with Vogue

Episode Title: An Exciting Vogue World Announcement! | PLUS How Costume Designer Arianne Phillips Creates Your Favorite Looks on Film
Date: October 23, 2025
Hosts: Chloe Malle (“Mel”), Chioma Nnadi, Nicole Phelps, Virginia Smith
Special Guests: Arianne Phillips, Naomi Elize

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Overview

This episode delivers a behind-the-scenes look at the upcoming "Vogue World: Hollywood," highlighting the intersection of film and fashion, with special attention to the artistry and impact of acclaimed costume designer Arianne Phillips. Listeners are treated to key Vogue World event announcements, discussions on legendary costumes, and an in-depth interview with Phillips about her creative process, iconic collaborations, and reflections on fashion’s role in the movies.

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Key Discussion Points & Insights

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1. Vogue World: Hollywood Preview

(00:36–13:00)

• Vogue World is heading to LA: The hosts, along with fashion market director Naomi Elize, set the stage for Vogue World’s Hollywood edition, which celebrates the long-standing marriage between fashion and costume design on the legendary Paramount lot.
• Atmosphere: Naomi describes the excitement in LA: “It is quite a brilliant scene to see…to be on the Paramount lots.” (04:18)
• Pre-show Activities: Fittings, style-outs for models, and the arrival of historic costume pieces are creating a “buzzy” energy on site.
• Costume Highlights: Archive pieces, like Galliano, are moved in giant crates; intricate fittings for Wakanda and Edward Scissorhands costumes demonstrate the craftsmanship required.

“The actual Edward Scissorhands costume? I think it took about two hours [to put on]...a lot of those buckles were found at vintage houses and just…attached on. It is super fragile and you have to be very careful putting it on.”
— Naomi Elize (08:08–08:16)

• Symbiotic Vision: Film and fashion are in dialogue more than ever, with modern designers reinterpreting classic costumes.

“It’s such a brilliant matchup to see the costume of The Great Gatsby reinterpreted by Miuccia Prada as a Miu Miu upcycled look…”
— Naomi Elize (06:36–07:01)

• Star Power & Easter Eggs: Nicole Kidman opens the show in custom Chanel; Gracie Abrams and Doja Cat (referenced as "Nostalgia Cat") perform in reinterpreted cinematic looks. Cameos and iconic film moments are woven throughout the event.

“It feels like Easter eggs for everyone watching, just to see these different characters walk around in the middle of the chaos of the actual show.”
— Naomi Elize (11:23)

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2. Fashion News & Industry Updates

(13:01–21:18)

• Grace Wales Bonner at Hermes: The hosts celebrate Wales Bonner’s historic appointment as the new Hermes menswear designer, noting both the industry’s and public’s enthusiasm.

“She’s also the first Black woman to lead design at a major European luxury house, which is remarkable.”
— Choma (15:08)

• Louvre Heist Reactions: The group discusses the recent jewel theft at the Louvre, pondering the fate of historic gems and referencing pop culture (“it did feel like Ocean’s Eleven…there’s definitely a movie in the works about this” — Chema, 16:09).

• Red Carpet Roundup: The recent Academy Gala is dissected for standout looks, including Chase Sui Wonders, Charli XCX, and Zoe Kravitz in Saint Laurent, and a trend of runway-to-red-carpet translations.

“It was the first major red carpet event after fashion month...you saw how [collections] were translated for red carpet.”
— Choma (19:42–20:04)

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3. Arianne Phillips in Conversation: From Iconic Film Costumes to Vogue World

(22:08–48:36)

Vogue World Collaboration (22:12–24:15)

• Phillips reflects on joining six other legendary costume designers to create new, collaborative looks for Vogue World: Hollywood:

“It’s really Anna Wintour’s brainchild...the conversation between film and fashion—and who better to have that conversation than costume designers?”
— Arianne Phillips (24:15)

Designing Sharon Tate’s Python Coat (26:02–28:40)

• The story behind Margot Robbie’s python coat from Once Upon a Time in Hollywood: authentic inspiration from Sharon Tate, recreated by Phillips in faux snakeskin as a tribute to both Tate and designer Ossie Clark.

“Sharon was wearing this insane python coat...She mixed it in a way with this Indian jewelry, and I just thought it was uniquely her style…it was designed by the great fashion designer Ossie Clark…”
— Arianne Phillips (26:28–27:34)

Working with Designers: Marc Jacobs & Anna Sui (28:40–31:25)

• Collaborating with Marc Jacobs for Vogue World, sharing inspiration and anticipating his homage.
• Phillips recalls formative moments, including Anna Sui being inspired by her early editorial work:

“The first time I ever had a fashion designer comment on my work, I will never forget. And that was Anna Sui…she told me that an editorial story I had done…was on her wall, her inspiration board in her design studio.”
— Arianne Phillips (29:57–30:30)

Career Origins: Lenny Kravitz, Madonna, and True Collaboration (31:25–39:45)

• How Phillips broke into the industry: starting as Lenny Kravitz’s stylist, mixing vintage and designer pieces in the early NYC scene.
• On styling Madonna: “The single most challenging medium to work in—and the most rewarding…60 dancers, 700 pairs of shoes, acts and themes, collaborations with Gucci, Prada, Alessandro Michele.”
• The importance of curation and honoring Madonna’s fashion legacy.

Working with Tom Ford & on Oscar-Nominated Productions (39:45–41:08)

• Insights on collaborating with Tom Ford on his films (“one of the most prepared directors I’ve worked with...and yet also very generous about what I could bring to the table”).
• On A Complete Unknown (Bob Dylan biopic): the logistics behind fitting 7,000 costumes for hundreds of cast and extras.

Costume Archiving: Where Do They Go? (41:45–44:25)

• Studios technically own the costumes; sometimes they’re archived, auctioned, or donated. Tarantino and Madonna keep significant archives.

The Art of the Fitting Room (44:25–48:28)

• The intimacy and trust required between designer and actor to "find the character in the fitting room."
• Phillips prefers “over-fitting” (multiple fittings) for deeper design refinement.

“We're the only people in filmmaking who are like, 'Nice to meet you. Take your clothes off.' Right? It's super intimate...for me, the more time I spend with the actors, the deeper I can go with the costumes.”
— Arianne Phillips (45:58–47:15)

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4. Memorable Quotes & Standout Moments

• “We've worked with designers from Tory Burch to remake the Atonement dress and Zac Posen who did the Bonnie and Clyde look. It really is one big marriage between fashion and film.”
  — Naomi Elize (11:23)

• “Everything is so considered, thoughtful, exacting. So cannot wait to see what [Grace Wales Bonner] does and also who she pulls in, because she's such a collaborative person.”
  — Chema (15:17)

• “When a fashion designer is inspired by film, then that gift is accessible to the public.”
  — Arianne Phillips (29:08–29:13)

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5. Important Timestamps

• 00:36: Vogue World LA jet, behind-the-scenes travel banter
• 04:18: Paramount lot energy and pre-show preparation
• 08:08: Edward Scissorhands fitting insight
• 09:31: Vogue World performer lineup revealed
• 15:08: Grace Wales Bonner makes history at Hermes
• 24:15: Arianne Phillips discusses the film/fashion collaboration at Vogue World
• 26:28: Sharon Tate’s python coat story
• 29:57: The Anna Sui encounter
• 31:25: On starting out with Lenny Kravitz
• 35:27: On designing for Madonna’s tours
• 39:45: Working with Tom Ford
• 41:45: The afterlife of costumes
• 45:58: Finding character in the fitting room

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Final Notes & Takeaways

• The episode is rich with industry anecdotes, from runways to red carpets to rising stars, but it centers on the unique dialogue between fashion designers and costume designers—culminating in the upcoming Vogue World: Hollywood event.
• Arianne Phillips’ reflections illuminate the artistry, collaboration, and deep human connections behind costume design, offering listeners an appreciation for both the iconic looks and the creative process that brings them to the screen.

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For the live Vogue World: Hollywood experience, tune in Oct 26, 6pm PST at vogueworld.com.

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Transcript

[Arden Fanning Andrews]

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[Arianne Phillips]

Vogue's beauty editor at large. My husband and I talk a lot of ebay strategy together because it is something that we have bonded over since the beginning of our relationship. We've known each other for 20 years and we've been using ebay for even longer than that, both of us. He's very proud of his five star review, which I have the same. We're pretty popular. We have a really good reputation on ebay.

[Choma]

This is the run through.

[Mel]

I'm Chloe.

[Arianne Phillips]

Mel.

[Chema]

And I'm Chema.

[Arden Fanning Andrews]

Nandi Shoma.

[Choma]

Vogue World is almost literally around the corner. Not actually.

[Mel]

I know.

[Chema]

I can't believe you're still here.

[Choma]

Literally across the country, boarding the Vogue World jet tomorrow. Vogue Air will be leaving from JFK tomorrow at 7am oh my God.

[Chema]

Bright and early.

[Choma]

Oh, we've been asked to get there at 4:30. I was like, we won't be doing that. We will be getting there at 5am which is already gonna get a lot of pushback.

[Chema]

Oh God, my, my eyes are watering.

[Choma]

So yes, we have an American Airlines flight all to ourselves. I'm imagining the scene like in Miss Congeniality when everyone like walks down the gang. But yes, we are very excited to be heading to la and we are very eager to kick off our Vogue World Hollywood coverage with the one and only Arianne Phill.

[Chema]

What a legend.

[Choma]

Oh my God, completely. She has worked on everything from Walk the Line once upon a time. In Hollywood, complete unknown. She's also responsible for Madonna's iconic tour looks, dressing Lenny Kravitz and Courtney Love. So wide range for Ariane.

[Chema]

So she spoke to Nicole Phelps and Virginia Smith about bringing those fantastic costumes to life and what it took to make those crazy, insane, amazing tall looks that everybody still references to this. And there was also a lovely encounter that she had with Anna Sui, which I didn't know about.

[Arianne Phillips]

Oh, that's cute.

[Choma]

Yeah, they were ships in the night. Crossing into pod interviews. Ariane is also one of the seven costume designers who has collaborated with Vogue for the Vogue World Hollywood Runway extravaganza. And I really want to hear more about that.

[Chema]

Some of our colleagues have already landed in la, including the fabulous Naomi Elize, who is here. She is fashion market director. Thank you so much for joining us, Naomi.

[Naomi Elize]

Thank you.

[Choma]

Naomi, set the scene. What's the vibe been since you got to la? Where are you? How's tension levels?

[Arianne Phillips]

All the above?

[Naomi Elize]

Well, I'm in West Hollywood right now, and listen, the weather is beautiful. It's like, you know, that LA weather where it's both hot and cold at the same time, but we're here for it.

[Chema]

And now you have a jacket. Let me just say that Naomi's dressed pretty much the same as we are here in New York.

[Choma]

It's true, huh? It's like sweater and blazer.

[Naomi Elize]

Listen, I run very cold and I'm like, I need a space heater right near me at all times. And also the Paramount lot runs very cold. But listen, it is incredible once you guys get here and just, like, see the sheer amount of space that we have, but also just how we've been able to fill it up with so much incredible one costumes, fashion archive. It is quite a brilliant scene to see and, you know, to be on the Paramount lots. I'm already plotting today to walk around to places that I know I shouldn't go, but I want to see the active movie scene and see where all the actors are. So it's exciting.

[Choma]

Describe a little bit what these pre pre days are like.

[Naomi Elize]

Yeah, it's a lot of fittings. We're doing a lot of style outs on the fit models just to kind of get a lay of the land of what, you know, what this show is going to look like and what the run of show will be. It is, you know, as these looks are coming in on these massive crates, you know, we just got the Archive Galliano yesterday, which is incredible, guys. And just like, seeing it move on the model in person in front of your eyes. It's brilliant. And you know, we're able to then actualize what the show will look like. And then, you know, we have Ruth Carter coming in for fittings, but some of the talent in her costumes. And then Colleen Atwood is coming the door and then Ariane Phillips is coming in and CM is popping through and you're just. It is buzzy and also it's just getting the energy up and it's exciting. I'm so excited for what it's going to be on Sunday.

[Chema]

Wow. It does feel like it's a true marriage of fashion and film. Can you walk us through a little bit about that? The vision for Vogue World? Because I know that this big Hollywood setting ties this all together.

[Naomi Elize]

Yeah. And it's such a symbiotic relationship too. It just like makes sense, but also still feels so like we don't necessarily always talk directly with the costume designers and getting to see a peek into their world. And so to have that opportunity now is very cool, you know, or had the opportunity to feature work from Catherine Martin of the Great Gatsby and Moulin Rouge, Colleen Atwood, Milena Canaro, Arianne Phillips, Sandy Powell, Ruthie Carter, Jacqueline west, but also getting an opportunity to work with Shirley Kurata of Everything Everywhere all at once, who's really focusing on the iconic characters of it all. So, you know, we have the 7/10 poll of costume designers. We have their costumes that have been reimagined by designers. Honestly, some of the greatest designers of our time now, like Nicolas Ghesquier, Peter Moulier, Olivia Rousting, Alessandra Michele, Sean McGeer, Marc Jacobs and of course Miya Prada. And it is such a brilliant matchup to see the costume of the Great Gatsby then reinterpreted by Miuccia Prada again into a Miu Miu look, an upcycled look that is meant for the times of today. So it's really about that beautiful marriage between the two and actualizing it into the modern day.

[Choma]

Naomi, I want to hear what was your pinch me moment or most exciting moment from working on all of these looks? Like was there one costume that you unpacked and you were like, oh my God.

[Naomi Elize]

Yeah, I would have to say seeing the Wakanda costumes in real life and being fitted on a war ahead of the shoot for the twinning shooting. Incredible. Because you know, it comes with a whole thing. They have to bring it in themselves. They have to fit it themselves. Of course, it's such a special costume. But then Getting to see it on and up close, a film that I loved watching, that was definitely a pitch me moment. And also getting to meet Ruthie Carter yesterday and just shaking her hand and just being able to say, hello, she's yours.

[Chema]

I heard that the Edward Scissorhands outfit that Sean McGurr of McQueen created took hours to just get on that.

[Naomi Elize]

And the actual costume.

[Chema]

Yeah, the costume, really, the costume was probably what was the process of getting in for the models, of getting into some of these clothes.

[Naomi Elize]

I think it took about like two hours, you know, being overseen by Colleen, of course, to make sure. Because also Colleen told us how, you know, a lot of those buckles she just, like, randomly found around, like, vintage houses and just like attach it on so it is super fragile and you have to be very careful putting it on. And also we were had the opportunity to kind of remake the hands and that was an incredible process. And just like seeing what they go through in order to make these costumes and their scope of just people that we never even think of that we would want to utilize for the magazine. Like, they just have so many incredible contacts where you're just like, I didn't even think that existed. Someone that could, you know, specialize in, you know, rubber attachment. You know, just things that would never come up on our end. So it's been eye opening and also very informative on our end.

[Choma]

Naomi, I want you to tell us, because we are announcing it today, Thursday, the performers for Vogue World Hollywood, which I think are just so major and huge, and I would like you to give us a little rundown on who is performing and what they are wearing.

[Naomi Elize]

Absolutely. It is a stacked lineup. We have Nicole Kidman, who is the opener, who is wearing custom Chanel. She is reinterpreting Gild Up, Blame it on Mame. And it is an iconic opener. We have a video that attaches to it as well that you guys will see soon. We also have Gracie Abrams, who will kind of open up the Summer of Love section. She is going to have a major moment with her band. She'll be wearing Chanel as well. We're really excited to have her. And then, of course, Nostalgia Cat. She is going to be a stunner.

[Arianne Phillips]

Big deal.

[Naomi Elize]

Big deal. She'll be in a reinterpretation of the Thunderdome of Tina Turner look. So that is going to be epic. I have not even seen it yet. I haven't seen. Of course I've seen the reference, but I haven't seen any updates on how the look is going. So I Can't wait to see how that actualizes there.

[Choma]

I'm really excited about Gracie and Doja. I think those are gonna be fantastic. And there's just gonna be really exciting cameos from different people we love and also iconic characters I loved. Naomi and Mae have walked through the different major fashion moments that are referencing different films. Iconic film moments, like one that I'll just use as a moose bouche is in a recent Marc Jacobs show. He did his own take on the Marilyn Monroe dress from the Seven Year Itch, where the dress blowing up is sort of frozen in the Mark version. And so in the show, it's gonna be the Mark version, but recreated on someone who looks like Marilyn in Seven Year Itch. So it really is sort of film and fashion speaking to each other in that dialogue.

[Naomi Elize]

It feels like Easter eggs for the, you know, everyone watching on the livestream and everyone on the ground watching just to see these different characters walk around in the middle of the chaos of the actual show. And, you know, it is also exciting because we. We've worked with designers from, like, Tory Burch to remake the Atonement dress and Zac Posen, who did the Bonnie and Clyde. The Bonnie look for Bonnie and Clyde. And so it really is one big marriage between fashion and film. And you. I've been so excited to be a part of it. So it really has been a fun process.

[Choma]

Yeah. I do think that those are actually both good examples of how classic film moments have been taken but twisted for this fashion moment. So, like the Torey atonement dress, it's that iconic Kelly Greene that you think of from the Keira Knightley scene in Atonement. But Torey used these sort of jersey knots that were a big feature of her resort collection to make the dress feel not like a costume. It really feels like a high fashion version of it and inspiration on it for Zack with Bonnie and Clyde. The beret that we think of so identify with Bonnie is made out of denim, which speaks to Zack's, you know, current gap position.

[Arianne Phillips]

Yeah, I ran into him at breakfast today. He was very happy.

[Chema]

He's very excited about going to Vog World.

[Choma]

Great.

[Naomi Elize]

We're excited to have him.

[Choma]

Naomi, we release you.

[Naomi Elize]

Thank you, guys.

[Virginia]

Aw.

[Chema]

Thanks so much for joining us.

[Choma]

Bye. We can't wait to see you.

[Chema]

See you soon, Choma.

[Choma]

I want to talk about what I would consider the most universal goodwill around a recent appointment that I have seen in many years, which is Grace Wales Bonner as the new menswear designer for Hermes. I just love how wide and how wide the pride is about Grace.

[Chema]

I know. It was such a lovely moment. A few people outside of this is when I always know when I get text messages from people from my friends outside of fashion, or my boyfriend. Partner alerts me to the news.

[Choma]

Adam was interested.

[Chema]

Adam was interested. He was like. He said, do you know this woman?

[Choma]

It's cool. It's like with Sorrel from Huitton, where really, like, people were coming out of the woodwork.

[Chema]

And it's such a. It's such a good fit for her. You know, she really values craft, quality, understands heritage. And. And honestly, I feel like she's building a heritage brand with her own line, so it feels just perfect for her. And I think I cannot wait for what she's going to do. I imagine I'm going to want to be wearing all of those menswear pieces.

[Choma]

You're good at wearing menswear.

[Chema]

I love wearing menswear. I'll.

[Arianne Phillips]

I'll say choma wear.

[Chema]

I'm also like, you know, a petite man in my stature. I still. I wear. I wear all my dad's clothes. My dad's clothes, who is a petite man. So she will show her first collection. I think it'll be 2027. So she has enough time, which I think is so great, to really think about what. What she wants to say in the context of a really storied house like that, which I think will be great, because you don't want to rush something like this. You want to really put your best foot forward. She still has her own brand, so. Which she's keeping.

[Choma]

Well, I was going to ask that because I wear a lot of Wales Bonner, and I would be very sad if she wasn't keeping her own brand.

[Chema]

Yeah. I didn't get a sense from the news that she was.

[Choma]

Me neither.

[Chema]

But she was shuttering her own brand. I was. I wore. I accidentally wore one of her pieces yesterday, so it was so nice to be wearing.

[Virginia]

I know.

[Choma]

I feel like half of our office is always wearing the Wales Bonner Adidas shoes. So I feel like yesterday everyone was wearing them. And it was the Grace Day.

[Chema]

It was Grace Day. It was Grace Day.

[Choma]

She's also the first black woman to lead design at a major European luxury house, which is remarkable.

[Chema]

We had to get to 2025, something like this to happen. It's kind of.

[Choma]

And she's only 35.

[Chema]

Speaking of 2025, she's very wise beyond her years, though. When you meet Grace, you feel like she's lived a thousand lives. She's so there's a wisdom about her and an intuition that sort of goes beyond her years. And I think she really channels that into her work. So she's just so. Everything is so considered, thoughtful, exacting. So cannot wait to see what she does and also who she pulls into because she's such a collaborative person. And.

[Choma]

Yeah, Choma. Speaking of things in Paris, like Hermes, I want to know your thoughts on the Louvre heist.

[Chema]

I thought it was literally April Voules.

[Virginia]

Oh, my God.

[Chema]

I was at breakfast with Sally Singer, and she was, like, buzzing with this. She was like, how do they do it? It's, like, hard to get. I find it hard to get in and out of the Louvre on a.

[Choma]

I see a meme that made me laugh that it was, like, good for them for being able to find anything in the Louvre.

[Chema]

Honestly, just finding the entrance and exit to the Louvre is an accomplishment. So it's kind. You know, you just wonder how they managed to do it. And I just see. Obviously, it did feel like Ocean's Eleven playing out in real life, but there's definitely got to be a movie in the works about this. I haven't seen the documentary Smash and Grab, but Me neither. But Sally recommended it to me. Cause she was like, you will get. Cause I was like, what do you do? These jewels are so. I mean, they're historic and traceable. Like, how do you.

[Choma]

Well, I know we were talking about that, and we actually have an etiquette column coming out next week about jewelry etiquette. And if you know that your gems have murky origins.

[Chema]

Oh, dear. Well, I mean. Yeah. Yeah.

[Choma]

Yes. I think Wall Street Journal also did a fun piece on what happens now when, like, what is the black market for stolen diamonds? Because it's also. It's sad that these beautiful crowns. Empress Eugenie's crown is gonna be now broken down.

[Virginia]

I know.

[Choma]

It's like a car part.

[Chema]

It's a complete. I think it's like. Yeah, it seems sacrosanct. I don't know how you would do that. It's terrible.

[Choma]

Emma Spector interviewed the one and only jewelry expert Lynn Yeager about the provenance of these gems. And I need to read that piece.

[Chema]

I missed it.

[Choma]

Yes. Lyn had a lot of thoughts about how well known these are throughout the world, so how hard they will be to resell. So, anyway, I'm very curious what the fallout of this story is gonna be, but you're right, it is primed for a movie. It makes me want to rewatch the original Thomas Crown Affair. Which I absolutely love the Steve McQueen, Faye Dun. But, yeah, very.

[Chema]

I've never seen that. I need to. I have.

[Choma]

Speaking of fashion and film.

[Arianne Phillips]

Speaking of fashion and film, I actually.

[Chema]

Heard that the Academy gala was particularly fun this year from a couple of people who went. It looked really starry for me. Beyond, obviously, the obvious players who always show up. It was such a joy to see Chase, Infinity's first kind of big red carpet moment.

[Choma]

We love Chase.

[Chema]

Yeah. She stars in one battle after another, which is we talked about in the culture Roundup. One of the best films.

[Choma]

I really do feel like that is the movie that was most discussed during fashion Month. Like, it was the movie that fashion journalists were actually taking three hours out of their fashion month life to go see. So Chase is definitely.

[Chema]

She looked great in the film.

[Choma]

Woman of the moment.

[Chema]

Yeah. She looked very poised, and I think it's hard to be in the spotlight and pull off a really a look. And it did feel like a look, but it looked completely effortless on her. I thought the glam was perfect. And she's just. Yeah. It's so great to see a new person. Who are some of your favorites?

[Choma]

I, Charli xcx, wore the sort of big, voluminous Saint Laurent, and she did a really fun diary for us because she also went to see Lord perform after the gal. She had a crazy.

[Arianne Phillips]

She's doing it all.

[Chema]

She's doing it all. We love Charlie for that. She lives life to the max. And I thought so. Speaking of Saint Laurent, I mean, that Saint Laurent collection was one of my favorites and particularly love the evening wear. And I love that Zoe Kravitz, who is obviously the ultimate Saint Laurent girl, wore one of those beautiful parachute gowns.

[Choma]

She really does.

[Chema]

She made it look effortless. I'm like, wow.

[Choma]

Yes.

[Chema]

It was such a wow moment for me. So those were my two favorites, I think.

[Choma]

I have to say. We did a piece on this. It was because of the timing of this event. It's the first major red carpet event after fashion month ends. And this was truly.

[Chema]

They got so lucky.

[Choma]

The Runway to red carpet pipeline. And you were able to see every debut that you had just seen in Paris, every show that you were excited about. You saw how that was translated for red carpet. IO Edda Biri, new Chanel muse, was wearing one of the new Matriblaze Chanel dresses.

[Mel]

Yeah.

[Chema]

One of my favorites, actually. I love those dresses. Yeah. Kind of flapper inspired.

[Choma]

Elle Fanning was wearing one of the Balenciaga pieces. Naomi Watts also was in the Balenciaga Obviously a lot of people in the Saint Laurent, but it just was very interesting to see that translation.

[Chema]

Totally. So speaking of posing on the red carpet and red carpets and dressing in general, Zadie Smith wrote this excellent piece about how authors should show up in the world and the dilemma of being a writer and how you should dress. And she references this really fun story that Virginia Woolf wrote about in her own life. Basically, she wore this insane hat and all of her friends were like, why are you wearing this crazy hat? And she completely spiraled about it. And you're like, even these really smart women have these moments where they feel like, oh, maybe I'm doing too much. I'm doing the most. So it's a really fun piece. And ultimately, Zadie thinks that we should. Everybody should be dressing to the max. And she's encouraged to see some young authors who really embrace that. And she has this fantastic new book of essays out as well. So you guys should go and pick that up. It's called Dead and Alive. So I'm. That's on my reading list for this month.

[Choma]

All right, the Run through will be back in a moment with Ariane Phillips.

[Arianne Phillips]

Hi. This is David Remnick, editor of the New Yorker. This fall, join us in celebrating the 100th anniversary of the New Yorker at the New Yorker Festival, returning October 24 through 26. We'll be joined by Salman Rushdie, Sarah Jessica Parker, George Saunders, Zadie Smith, Rashid Johnson, Keanu Reeves and many others. Tickets are on sale now and we'll be announcing more events soon. You can learn [e-mail] festival. That's newyorker.com festival.

[Choma]

We're back with the Run through with Vogue.

[Virginia]

Hi, Arienne. Welcome to the show. Welcome to the Run Through. Virginia and I are so happy to be here with you in the lead up to Vogue World Hollywood just around the corner, and you have been an incredibly instrumental part of the production. Will you tell us about what you're working on right now, now that we are just days away from the show?

[Arianne Phillips]

Sure. Well, I'm multitasking and, you know, it feels like the costume designer's participation has been, you know, we have, we've finished that part. I believe casting is going on and, you know, all the pieces are coming together. It's really, really exciting to be in this incredible group of costume designers, the seven six other amazing costumes. I know Sue's work has influenced me and informed me and who I'm huge fans of and I'm lucky to call some of them My friends. And so I am, you know, all hands on deck, ready to get going with Vogue World and anticipation. This week is super exciting. And in my other time, I am prepping a film, actually Colman Domingo's directorial debut, for a movie called Scandalous, about a love affair between Sammy Davis Jr. And Kim Novak. So it is very good timing to be working on a film in Hollywood and be part of Vogue Hollywood.

[Mel]

We've known each other sort of from afar for many years. So just for our listeners who maybe don't know what's going on, you and I worked together very specifically on, well, a project that we'll see in print and then you'll see on the Runway in Vogue World that we sort of. Our working title was Twinning, and it was very much about working with these incredible costume designers that you really suggested and wrangled into getting to do this for us and sort of pairing them with designers to come up with these magnificent collaborations. Can you talk through that a little bit?

[Arianne Phillips]

Well, you know, it's really Anna Wintour's brainchild and this incredible idea of Vogue in Hollywood, and not just kind of Hollywood in the broad sense, but specifically the conversation between film and fashion, and who better to have that conversation than costume designers? And we work in a similar medium in that we dress bodies, we work with storytelling as costume designers. You know, we also create stories by developing collaborations with the director and with the actors and creating characters and informing worlds, world building. So it is thrilling to be able to be very specific about this collaboration and the common thread, don't mind the pun between fashion design and costume designers and the distinct differences, but how one speaks to the other and has been informed one to the other. It's a conversation that we as costume designers are well aware of when we see how the culture expands around a film. We all know films like Annie hall or Seven or, you know, these Star wars iconic films that inform not only the way we dress, but the way we think and that storytelling and people talk about film and fashion. And yet it took Vogue to bring us together to really be able to talk about what that means and what that means to fashion designers.

[Mel]

You have several looks that will be in the Vogue World show, but your collaboration look is actually the python coat from Once Upon a Time in Hollywood. Can you talk about how that look came to be in the film?

[Arianne Phillips]

Yeah. Well, the unique thing about Once Upon a Time in Hollywood is that it is fiction with nonfiction elements. So with fictional characters like Leonardo DiCaprio and Brad Pitt's characters, Cliff Booth And Rick Dalton. And then we had real characters like Sharon Tate and Roman Polanski. We were very lucky in that. Sharon Tate's sister, Deborah Tate, we were able to have Margot Robbie. Myself and Quentin were able to spend time with her and talk to her. And I felt that it was my responsibility to represent Sharon in the most authentic way. She was an it girl. You know, she was not only beautiful and a wonderful actress, but she was it girl. She, her and Roman lived in London, and they were around during the Carnaby street days and, you know, all the wonderful happenings of how fashion and rock and roll was coming together in London in the late 60s, right when our film was set. One of the scenes in the movie that actually we didn't end up shooting, but in the original script was the Rosemary's Baby premiere. And when I was looking at images of that premiere, Sharon was wearing this insane python coat that was just so striking and beautiful. And she mixed it in a way with this Indian jewelry. And I just thought it was uniquely her style. And come to find out, that coat was designed by the great fashion designer Ozzie Clark, who I personally am a very small collector of his pieces and a big fan of Ozz Ozzy Clark. I was unsuccessful in finding the original coat, which was okay because I wanted to make sure and have it work for Margot. So we recreated that coat with my shop, and we chose to make it in a faux snake skin. It is a moment where she wears it in the movie when she goes to the Playboy Mansion party. And underneath it, I was able to find a vintage Ozzie Clark jersey, kind of hot pant top set, yellow. And so it was a two for Ozzie Clarke.

[Mel]

What was it like sort of working with Marc Jacobs, who was your collaborator and did his own homage to your look.

[Arianne Phillips]

In my early conversation with Mark, we talked a little bit about the inspiration. So I'm really excited to see what Mark is created. I haven't seen it yet, and excited that it's a surprise. So along with all the other fashion and costume designer collaborations, it's really wonderful to be able to, as a costume designer, to have a direct conversation with fashion designer about where the inspiration came from and see how that may inspires the designer in their own way. And that is kind of the legacy of, I think, film and design and how it can inspire so many things. I mean, when a fashion designer is inspired by film, then that gift is accessible to the public.

[Virginia]

Have you ever talked to a designer who's told you, oh, I watched Walk the Line Say, or girl interrupted. And I designed this based on a look that you made, Ariane, or have you observed it? Just, you know, when you're watching fashion shows, you're like, oh, that reminds me of something I did in a movie.

[Arianne Phillips]

I will say, the first time that I ever had a fashion designer comment on my work, I will never forget. And that was Anna Swee, the early 90s. I met her on the street in Soho. And someone, she told me, or someone had told me that editorial story I had done at the time with David LaChapelle for the Face magazine was on her wall, her inspiration board in her design studio. And we met briefly, and she told me that this particular story that I styled, and all the clothes, by the way, in that story were made for the story. So it was kind of like. Like street fashion, but it was all kind of cobbled together. It wasn't like name designers. So I remember taking that on almost as a creative challenge and responsibility to be able to interpret the Runway like the trends that were happening at the time. And that really made a huge impression on me at an impressionable time when I was just starting out in my career. And I thought, oh, wow, I can really. If something's in print, and then that continued on in film, that. That can inspire somebody and somebody as talented and I admired as much as Anna Sui at that time.

[Mel]

That's incredible.

[Virginia]

Let's go back to the early part of your career.

[Arianne Phillips]

You.

[Virginia]

Well, your first client was Lenny Kravitz. And I want to know how the two of you met.

[Arianne Phillips]

Oh, yeah, Lenny and I. I had moved to New York City. Ostensibly, I told my parents to continue. I had been going to art school, and I knew full on that I wanted to work in fashion. Actually, I had been. I actually assisted a few fashion stylists when I moved to New York, kind of fresh off the turnip truck. And simultaneously, when I was assisting some of these behemoth fashion stylists like Barbara Dente, Wendy Goodman, who was doing fashion at that time, Tina Bossity, these incredible legendary stylists. Simultaneously, I was introduced to Lenny through a mutual friend. And Lenny, at that time was playing drums for New Edition, and he was also playing drums for Tina Marie. And he was. Was just kind of a musician for hire. So Lenny and I became friends, and we just hung out. And at that time, I lived in Soho. And I remember we used to spend our time. And he said, when I make my record, I want you to be my stylist. And we would go hang out at Konde Garconnet, which was in Soho at the time. Or, you know, we would dream about the days when we could afford. At that time, Japanese designers are really big deal. So it was like Mitsuda, Comme des vers, you know, Giamamoto. And we would just go and hang out in those stores and became friends with, like, the shop girls and the shop guys. And that was, we went to clubs a lot. So we started that way, like, just purely as friends. And then he went away on tour and came back and went into the studio to make his first record. Around this time, he met Lisa Bonet, Zoe's mom. She, Lisa had an incredible wardrobe, including Yoji Yamamoto, Mitsuda, all the designers we coveted. So we kind of, you know, we didn't have really any money in the early days. So we cobbled together, like, pieces from Lisa's closet, and we got some pieces from Lenny's Dad's closet, some 70s poly suits, and we kind of mixed them together. You can see it in the Let Love Rule video. And it was always just kind of this mishmash of inspiration from the Jackson 5 cartoon to Jimi Hendrix to David Bowie to Earth Wind. And we, we had a lot of the same references. It was a wonderful opportunity for me to not only start with the trust of a friend, but have that friend be such a genius. Like, you know, I, I, how lucky was I? And Lenny brought me along on his journey, and that's kind of how I started.

[Mel]

That is a family with some seriously, seriously good style cred.

[Arianne Phillips]

In terms of my styling career, I think one point of pride for me is that really had the opportunity to be in rooms with some of the most stylish aesthetic artists. 22 years working with Madonna, and it raises the bar of the conversation. And then I think it just makes the collaboration for me more exciting and more interesting.

[Mel]

Speaking of Madonna, as you say, you've had this incredible working relationship with her for years, I think. Always been curious how you approach styling a tour. How many multiples of the same look do you need to have? How do you handle the dancers? What if something happens midway through the concert? How do you do it?

[Arianne Phillips]

Virginia, it is the single most challenging medium to work in and the most rewarding, I would say. You know, I worked with Madonna from 97 to 2019. I had a really good run, and we remain in touch and in contact. And in that time, I designed six of her tours. And at the beginning, I really just didn't know. I just kind of figured it out. The thing I love so much about touring is I love the live experience, the interaction with the audience. So the way that Madonna's shows are is that they are broken up into acts and every act has a theme and that gives great inspiration and challenge for costumes. And often it's not just Madonna, it is 20 dancers. Often she has specialty performers and lots of costume changes. I think on one tour we counted like 700 pairs of shoes because the dancers were changing costumes up to 12 times during the show. And really, really incredible village it takes to pull it together. And one of the responsibilities I felt from the day one of working with Madonna is her honoring her incredible collaboration with fashion designers over the years. And really acting, kind of pulling from my stylist hat, acting as a curator, figuring out who the fashion designers we would collaborate with on each tour. The last tour designed the Rebel Heart tour. We collaborated with Alessandro Michele just six months after he debuted his first show. That was particularly thrilling for me. And we collaborated with Prada, who we had a long time collaboration with and I believe continues to this day. Fabio Zan Bernardi, who worked with a Prada for 40 years. We had been making Madonna shoes forever. There are lots of multiples Madonna, depending on the fabric. You know, if it's silk or some beautiful fabric, you know, we could have up to six of them. And we always have, at least for the dancers, at least one set, usually three sets. So that we're constantly rotating the costumes because dancers are moving and sweating and, you know, you can only imagine the wear and tear that goes into them. And that is a internal structuring of, you know, you get the clothes from the fashion designers and then you have to kind of pull them apart and rebuild them with what we call skin layers to withstand the physicality of dancing and sweating and everything.

[Mel]

All right, we have one quick change in Vogue World that I'm going to need your help with.

[Arianne Phillips]

Oh, yeah, yeah, exactly. I can only imagine.

[Mel]

I wanted to move on and ask you what it was like working with Tom Ford on both his films. Was it different given or intimidating at all? Given he's a fashion designer himself and did you approach it differently because of that?

[Arianne Phillips]

You know, when he sent me the script, I knew him socially. We had never worked together and of course was a massive fan of his work. And I wasn't sure how it was going to work, but I was really, really excited. And the wonderful thing about Tom is that Tom is such a. He has been a creative director by that time for a long time. And his job as a creative director is to inspire his team, teams of people aesthetically. So that's a thing in a way that he had way above and beyond. Tom was like super fun. And, you know, he, first of all, he was the one of the most prepared directors I'd ever worked with, just in terms of, you know, his visual references, you know, how he saw the film. And it was, and yet also very generous about what I could bring to the table. And so the conversations were always really fun.

[Virginia]

I wanted to bring up a complete unknown to say that I was rooting for you at the Oscars earlier this year, but that is the movie about the early years of Bob Dylan in Greenwich Village, New York. And I think there was something like 4,000 costumes you had to. You were in charge of for that movie. Is that the right number?

[Arianne Phillips]

Well, actually, we probably fit about 7,000 costumes over the course of the film, which is. Sounds like a nutty number, but it's true because we had these massive concert scenes. We had about 5,000 background players in the whole film and then we dressed half of them twice. So well, that's about 7,500. But then I had 100 speaking parts. Timothee Chalamet had 67 costume changes. Is himself. And then, you know, Edward Norton as Pete Seeger and Elle Fanning as Sylvie. They, you know, Monica Barbaro as Joan Baez, they all had at least 20. So there were, you know, that's the thing about these movies that you could call biopics or happen over a course of time where you have to show the passage of time.

[Choma]

The run through will be back in a moment.

[Chema]

Hi, it's Cho Minardi. If you're not on the Vogue app yet, what the hell are you doing? You can follow along with me and other editors as we talk about everything happening in fashion. Think you're already a fashion expert? Well, find out how your Runway IQ stacks up against the Vogue community with an all new Runway genius leaderboard. So download the Vogue app today and you'll never miss a moment.

[Mel]

One of the most challenging and yet interesting things that we've been going through for the last few months is tracking down some of these costumes. I think we have gotten things, obviously the Marvel costumes from Wakanda, they came from Marvel. The people from Marvel had to be on the whole time. I believe we got some of the costumes from the Revenant from Leo DiCaprio's team. Correct me if I'm wrong, but did Quentin Tarantino have our trench coat that we had to break into his closet from your film? But in General, what happens to these costumes when the film is over? Do you keep them? And if so, like, how do you decide what you're keeping and how does that work?

[Arianne Phillips]

Work? Yeah. Well, unfortunately, the way that it's set up is that we as costume designers are work for hire. So we. We don't own the costumes. The studios own the costumes. There are extraordinary circumstances where you can ask to keep something or a producer will gift you something with the approval of the studio. In my case, with the Walk the Line costumes, they don't exist anymore. They, like many films, were sold off to recoup, you know, funds. I think now the value. They are more respected as assets and people hold on to them. But when I started my career in those days, you know, Walk the line was 20 years ago. A lot of times the studios would sell off the costumes to recoup money at the end of production or they would be absorbed into a costume house. Like all the big studios have costume houses. And then Quentin Tarantino was Anne Madonna were both generous enough. They have their own archives. So Quentin Tarantino has an incredible archive with props and set pieces and costumes. And he generously allowed us to borrow the Sharon Tate costume and then the costume from we for the Duchess of Windsor. Madonna has a really incredible archive. And I am thrilled that Madonna kept all the costumes because I know that they're being preserved. I actually have donated costumes to different institutions like the Academy Museum in Los Angeles. But once you donate the costumes to a museum, they become under a preservation clause, like, you know, if you were to donate something to the Met, so it's not like you can borrow it back and have a person put them on.

[Virginia]

I think that one thing Virginia and I, I think all the editors at Vogue are curious about your job is, you know, talk about starting from the shoes up or that you've. You're creating this shell for the actor to go into. But you're also really interfacing with actors, you know, one on one, face to face a lot. And how do you manage that? There's lots of different types of actors, but you're getting to know them quite well, I imagine on some of the these movies.

[Arianne Phillips]

Yeah, you know, usually with the principal actors, like, you have the opportunity to just by the sheer nature volume, like on a complete unknown with Timothee Chalamet, the sheer volume of his costumes. And I can say the same for Joaquin Phoenix and Walk the Line, Woody Harrelson and the People versus Larry Flint. The amount of costume changes they have, you end up spending a lot of time together. And usually, you know, you can do all the preparation. You know, there's lots of preparation from discussions to sourcing fabric, to having things made. But when an actor comes in the room and you put the, the clothes on, whether they, whether it's in the development phase or, you know, some actors come to you late because they're on other projects and you, you, you have to do it very quickly. You know, you really find the character in the fitting room and you really, it is wonderful. But you cannot depend, every actor has a different process on how they access their character. Some actors are very costume oriented and very engaged. And other actors, there are actors who, it's not part of their process but are willing participants, you know, so it really, it's different every time you meet an actor and they come into the room, what they're going to bring. We're the only people in the whole process of filmmaking that are like, nice to meet you. Take your clothes off, right? It's super intimate. It's very, very intimate. And there's a lot of trust that has to happen very quickly. And I think we all bring our stuff into a room. Like, you know, we're working with actors or professional, but we all have our own private lives and our own things. And I think, you know, our, the physical body. Just think about what it's like to be in a fitting room when you're shopping for yourself and all kinds of things come up. Right. I love that intimacy. To me, it's, I think I've been accused of overfitting characters because for me, I feel like the more time I spend with the actors, the deeper I can go with the costumes and making adjustments or even changing a costume.

[Virginia]

What do you mean by overfit? When you said you overfit an actor, what does that mean?

[Arianne Phillips]

Well, when I say overfit, I mean it in jest because the thing is, we never have enough fittings, you know, we never have enough time. But for me, a lot of development that the development that happens with an actor in the fitting room to me makes for better design because if I'm sitting in a room sketching a costume, you know, having a costume built, having never had the physical experience of the actor, when you meet that, that's like a two dimensional experience. But when you're developing sometimes on these period pieces, I like to put a lot of like. So the early fittings with Elle Fanning on a complete unknown, I chose not to sketch the character, rather try on a lot of different silhouettes from the time period to figure out what made the most sense for her character. So I say over fit and dress because I think it takes a lot of patience for the actor. But for me, the more physical time I have with the actor, the better the design is.

[Virginia]

We are very much looking forward to physical time with you in Los Angeles list this coming weekend.

[Arianne Phillips]

Me too.

[Virginia]

Thank you so much.

[Mel]

Thanks, Arielle.

[Arianne Phillips]

Thank you so much. Can't wait to see you. Smooth travels.

[Choma]

That's it for the show. The run through is produced by Chelsea Daniel, Alex DePalma and Stephanie Cariuki. It's engineered by Pran Bandy and James Yost. It is mixed by Mike Kutchman. Chris Bannon is Conde Nast's head of global audio. Lights, camera fashion. This year, Vogue world is heading to Hollywood. The scene, the legendary Paramount Pictures Studios lot.

[Arianne Phillips]

The plot.

[Choma]

Cinema's most iconic costumes meet fashion's biggest designers. Think Edward Scissorhands tailoring and Marie Antoinette opulence. It's drama, its decadence. It's a costume department come to life. The countdown starts now. Watch the livestream on vogueworld.com at 6pm Pacific Standard Time on October 26th. And cut.

[Arianne Phillips]

From prx.