Colman Domingo on Co-Chairing the Met Gala, Fashion, and Falling in Love

Summary

Podcast Summary: Colman Domingo on Co-Chairing the Met Gala, Fashion, and Falling in Love

Podcast Information:

• Title: The Run-Through with Vogue
• Host: Vogue
• Episode: Colman Domingo on Co-Chairing the Met Gala, Fashion, and Falling in Love
• Release Date: April 21, 2025

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1. Introduction The episode opens with Leah Faye Cooper introducing the guest, Colman Domingo, and highlighting his recent role as a co-chair for the Met Gala. Cooper reminisces about a brief encounter with Domingo at a BAFTA Film and Fashion party in London, noting his charming presence and stylish appearance in a cerulean blue Jacquemus blouse ([00:01] – [01:02]).

2. Collaborating with Vogue on the Met Gala Spread Cooper discusses Domingo's feature in Vogue, emphasizing the beauty of his spread photographed by Aika Uday and styled by Max Ortega. She praises the reflective nature of the fashion spread, which blends historical menswear with modern elements under the theme "The Details Make the Man" ([01:03] – [06:25]).

3. The Journey to Co-Chairing the Met Gala Colman Domingo shares his excitement about being a Met Gala co-chair alongside Anna Wintour. He mentions interviewing A$AP Rocky and notes that Rocky's grandmother is also involved, highlighting the generational support within their collaboration ([02:26] – [03:06]).

4. In-Depth Conversation with Anna Wintour The conversation shifts to an in-depth discussion between Domingo and Anna Wintour about the Met Gala's theme, "Tailored for You," inspired by the Costume Institute's exhibit Super Fine Tailoring: Black Style. Wintour explains how the collaboration began in the fall of the previous year and her enthusiastic acceptance to co-chair, reflecting her deep engagement in every aspect of the event—from guest lists to music selections ([03:09] – [06:05]).

5. Fashion Shoot Insights Wintour recounts her experience during the Vogue photoshoot, detailing her initial discomfort with being posed like a model rather than acting naturally. Through collaboration with photographer Ika Uday, she found her storytelling voice, resulting in a series of playful and expressive images that captured her legacy and personal story ([07:19] – [12:18]).

6. The Importance of Accessories in Style The discussion highlights the theme's emphasis on details, such as pocket watches, rings, and tie clips. Wintour shares her personal philosophy on accessorizing, explaining how every small detail—from socks to rings—adds depth to her ensemble and reflects her attention to craftsmanship and storytelling in fashion ([12:18] – [15:10]).

7. Representation and Emotional Impact Wintour speaks passionately about the emotional impact of seeing black mannequins in the Costume Institute's exhibit, underscoring the importance of representation in fashion. She describes how these mannequins allowed her to see herself reflected in high fashion, a significant moment that emphasized accessibility and self-imagination for people of color ([15:10] – [18:07]).

8. Personal Stories: Meeting Her Husband A heartfelt segment features Wintour recounting how she met her husband outside a Walgreens in Berkeley 20 years ago. She narrates the serendipitous encounter, the persistent search for him on Craigslist, and their eventual meeting and enduring relationship. Wintour emphasizes the story's resonance as a tale of hope and lasting love ([26:36] – [31:34]).

9. Fashion and Pop Culture Reflections The conversation delves into Wintour's admiration for designer Valentino and his maximalistic yet romantic style. She discusses the delicate balance between bold fashion statements and classic tailoring, highlighting her collaboration with Valentino for events like the Oscars ([23:11] – [25:03]).

10. Met Gala Preparations and Expectations Wintour elaborates on the anticipation surrounding the Met Gala's theme, addressing concerns from attendees about cultural sensitivity and respectful representation. She assures that the event will honor super fine tailoring and celebrate diversity, reflecting her confidence in the organizers' vision ([37:45] – [38:57]).

11. Reflections on Past Met Gala Experiences Wintour shares her favorite memory from the previous year's Met Gala, describing the magical feeling of walking up the artfully adorned stairs and feeling welcomed into an art installation. She highlights the emotional connection and sense of belonging she experienced, equating it to living inside a piece of art ([39:01] – [45:58]).

12. Closing Remarks As the episode concludes, Cooper and Domingo express their excitement for the upcoming Met Gala and commend Wintour for her inspiring stories and insights. Wintour wraps up with her thoughts on balancing her country life with the glamour of the fashion world, underscoring her passion for storytelling and community within Vogue ([46:32] – End).

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Notable Quotes:

• Leah Faye Cooper on Colman's Charm:
  "He just twinkled and charmed us." ([01:03])

• Anna Wintour on Accepting the Co-Chair Role:
  "I couldn't wait to get on board." ([03:09])

• Wintour on Fashion and Storytelling:
  "I'm a storyteller; is there some way we could just be playful and then find the lens as well?" ([08:45])

• On the Importance of Accessories:
  "The details make the man." ([12:18])

• Wintour on Representation in Fashion:
  "It's about how do we imagine and reimagine ourselves." ([15:30])

• Wintour on Her Meet-Cute Story:
  "I became something that I never thought I'd be." ([30:51])

• On the Met Gala's Cultural Significance:
  "I think it's going to be a cultural phenomenon." ([38:57])

• Wintour Reflecting on Past Met Gala:
  "I felt like I was being welcomed into something... living inside a piece of art." ([44:00])

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Conclusion This episode offers an intimate glimpse into the worlds of fashion, art, and personal relationships through the lens of Anna Wintour and Colman Domingo. From the meticulous planning of the Met Gala to heartfelt personal anecdotes, the conversation underscores the profound impact of fashion as a medium for storytelling and representation. Listeners gain valuable insights into the dedication behind Vogue's iconic events and the personal passions that drive its influential figures.

Transcript

[Leah Faye Cooper]

This episode is brought to you by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with the name your price tool from progressive, you can find options that fit your budget and potentially lower your bills. Try [e-mail] progressive casualty insurance company and affiliates price and coverage match limited by state law. Not available in all states. Ebay. It's the place to fall in love with new, pre loved vintage and rare fashion. Over and over again, your favorite designers expertly authenticated. Yeah, ebay. Things people love. Happy Monday, everyone. We have a very special episode to kick off your week with the one, the only Colman Domingo Trauma. Have you gotten to spend any time with Colman? Very briefly crossed him on the dance floor at the bafta. Excuse me. Kind of Film and fashion party in London for the baftas.

[Colman Domingo]

Yeah.

[Leah Faye Cooper]

Well, he couldn't have been more charming. He was wearing this cerulean blue jacquemus blouse that was unbuttoned down past his sternum and he just twinkled and charmed us. His spread in the magazine and cover is so beautiful. Photographed by Aika Uday and styled by Max Ortega. Leah Faye Cooper, Vogue style director. And I got to chat with him about what it was like to work with and channel menswear of the past and celebration of this year's theme. Superfine tailoring, black style. It felt like a very reflective fashion spread because there were a lot of historical references but also very modern. And the theme of it was the details make the man. And you really see such beautiful attention to detail throughout. We also got to hear about his recent night at the theater with Anna Wintour, which I loved, and his beautiful love story. Truly, our producers in the control room had tears in their eyes. Oh, my God. So enjoy everyone. We'll be back tomorrow with another episode. Congratulations on being a Met Gala co chair and for your cover, which will be released when this comes out.

[Colman Domingo]

Yeah, we're so, so, so excited. So I actually had the pleasure of interviewing A$AP Rocky for this and his grand was part of it. And she has quite a crush on you. That really? Yes. Oh, yeah, that came up.

[Anna Wintour]

How old is this grandmother? That came up because I have like. That's my jam right there.

[Colman Domingo]

Okay.

[Anna Wintour]

The ladies of a certain age. I'm in.

[Colman Domingo]

She is of a certain age and your name came up several times. So she is very excited that her grandson is going to be co chairing alongside you.

[Anna Wintour]

So great. That makes me so great.

[Colman Domingo]

Yes. So, okay. The theme this year is tailored for you, which is inspired by, of course, the costume Institute's exhibit Super Fine Tailoring Black Style, based on a book by guest curator Monica Miller. We are all obsessed with your fashion and really cannot think of a more perfect person to be a part of this. Can you tell us when did these conversations initially start taking place?

[Anna Wintour]

The conversations for the Met Gala co chair happened in the fall of last year. And I know that because I was in upstate New York and I was minding my business shooting this new series called the Four Seasons. And my publicist called, and she says, and it was the strangest call to me. She says, hey, do you have any time today? Because Anna Wintour would like to talk to you. Oh. And we had a great conversation. And she. It was the most beautiful invitation because she first prefaced it by saying, I'm not sure if you're interested in something like this or have time. And I thought, you have no idea who you're talking. Anything for Anna Wintour because of how she's been with the culture and how she's been really, you know, been such a champion of the Costume Institute. I'm like, I can't wait to get on board. So we had this beautiful conversation and beautiful invitation. She told me to think about it. Of course, I didn't have to think about it. I just thought, oh, no, no, no. I'm going to clear anything that I have going on the first Monday in May, and I'm going to do it. So that's where it came about. And then I didn't know. I really. I really didn't know how much engagement that I would have. And I'm really happy to say it's more than just sort of a title that she's asked my opinion on. Whether it's guest list, whether it's music, whether it's, you know, going through the Costume Institute boards with Monica, I feel like I've really been engaged in, really been a part of it. So much so that I got a text last night and I got so giddy because. And I'll share this with you. Anna sent me a text and she says, checking, you know, how's filming going and how's your met look? Question, question.

[Colman Domingo]

And I thought, I mean, what we all want to know.

[Anna Wintour]

And it was time for me to reveal. I thought I was like, I need to reveal my met look to her now. I think that's what the question marks are.

[Leah Faye Cooper]

And did you. Did you get a screenshot?

[Anna Wintour]

Oh, I totally did. I was like, hello, my friend. Blah, blah, blah. Want to see? Question mark? The only thing missing is this and that. And that the other. And I sent her the look, and I died with the response because I was just waiting. And I was waiting for hours, actually, so I'm assuming she was somewhere. Then finally, right before 9:47, before I went to bed. Had to go to bed early last night to get ready for you guys. I got. Because I couldn't sleep. I was like, I'm not gonna sleep until she texts me back. That's work of art.

[Colman Domingo]

Fab.

[Anna Wintour]

I'm good. I'm good, you guys. I'm gonna be all right.

[Leah Faye Cooper]

Nailed it.

[Colman Domingo]

I mean, yes.

[Anna Wintour]

I also promised. I said, okay, I'll take any notes from you. Any notes. And we've been working on. Me and Valentino, Alessandro, Michele have been working on this look with my stylist, Waymond and Micah. And we arrived at something that we think is really special and really fitting and really tailored just for me.

[Leah Faye Cooper]

Oh, we are so excited. I have to tell you, our entire team, when the. There's sort of a rite of passage at Vogue that even in a digital era, like when a shoot comes in, the art department prints it and Anna comes and looks at it on a high top table, and it's sort of like, what is everyone's reaction? And sometimes our reaction is different than Anna's reaction. The art department's reaction is different from the editorial team's reaction. And these photos came in and truly, everyone who went and looked over them, it was just this.

[Colman Domingo]

The reaction was swoon. Swoon.

[Leah Faye Cooper]

I mean, but it's. It's a gas, and you get a lot of credit for that. But I have to say, Ike Uday gets a lot because they are works of art. They are so beautiful. And our beloved Max Ortega was the fashion editor who is so talented. And I just am curious what that shoot day was like for you. And sort of, if you could, you know.

[Anna Wintour]

Oh, it was really awesome because we had to. I think I didn't understand at first the way I K would shoot me. It's wild because, you know, I work with all these different photographers, and I thought. And especially I thought fashion, and so I know that I sort of lean into the clothes or how to sort of, like, sell clothes in a way, as I've been doing campaigns and such. But I thought Vogue, and I think that the closest to vote shoot that I think I remember was Sergeant Parker, you know, shooting her vote shoot in six in the City. So, yeah, I was doing way too much. I was like, this is that moment. So I came. I didn't realize he was Doing more portraiture. And so our first run of shots, he was being very meticulous about where I moved my hands, where, how I was posed and things like that. And I'm an actor, I'm not a model. So I almost didn't understand the story by just being moved and manipulated in such ways. I didn't know what story I was in. And so we. We ran off the first shots, but I knew I had to do some rethinking and went back, and when we're changing clothes, and I think, oh, this is what is. How do I find the life in me and the story in me? By just standing somewhere and pose? And I talked to him. I said, okay, is there anything we could do? I said, because I said, I'm an actor. And I said, I just don't know. I don't feel as relaxed and as open. And as a storyteller, is there some that we could just be playful and then you find your lens as well? He says, oh, cool, that's interesting. Let's try that. Let's try that. I said, because I think you're going to get the best out of me if we work in that way just a little bit. And I'm trying to work within his constraints as well. And I also said, what is the story in this moment? What story am I telling? Actors, we just need to know that so we can really give something in our eyes, in our. And.

[Leah Faye Cooper]

And what was the story? What did he say?

[Anna Wintour]

I think the story was. He said. He says he's a. You're a gentleman. Just breathe. This is. You know, we would talk about the story of, like, you know, ancestors and family and how we're representing. And this is a moment here. And then I will help to define my own story as well. And I thought to bring in. I thought to bring in really my whole legacy and why. Why I'm here and all the people who helped me get here and standing strong or standing in a pose for them. So once we start to do that, he started to light up. I started to light up. And then we did some when I was playful and free, and then even when we got to the COVID shoot and we're setting up for that, and I thought, this is my cover shoot. What is it going to look like? And I was frustrated with the angle. I remember that much because we were going straight on, and I thought, oh, I don't know if I'm. Because I thought, if I'm walking by newsstand, how do I want to look at people? Am I naturally, like, straight up looking at a person face to face. I'm like, nah, I'm a little sly. I love looking a little side eye or from the side in some way. And so I said, is it okay if you go over here? He said, sure. So we were playing together, and then when we started to do this, he says, oh, I see, I see. Because I knew it would bring a sparkle out on me. So it was really. We really collaborated in a beautiful way. And I think we sort of, like, really have such an artistic crush on each other. That day we were really digging how we were telling each other stories, and we felt like we were cuffed in the same cloth. And he would share some of his writing with me, and I'm like, who is this man? And the way he thinks about clothes. And he is the epitome of a black dandy. And I just felt so inspired by him, and I feel like we could create universes together.

[Colman Domingo]

Beautiful. So there's this through line of dandyism in the shoot, but there's also a really eclectic mix of fashion. You know, one of the looks kind of like an 18th century painting. Another one looks matador inspired. Can you tell us a bit about the fitting process and landing on the looks with Max, who styled?

[Anna Wintour]

Yeah, when I went in there, really, I was just. It took my breath away. And I thought, whoa, are all the guys being dressed this way? They said, no, no, no. Everyone's very specific. You're sort of the storyteller when it comes to period and costume. And I was like, oh, that makes sense, because I'm an actor. And I said, I can. I can lean into that. And I'm willing. I said, give me the biggest, boldest prints. Give me. Give me stockings, give me tiny shoes. Give me whatever. I'm like, I will. I will go restoration comedy. I will go, yeah, just something a bit more austere, 1920s. So we leaned into that, and I don't know, everyone just got very excited about all the elements to bolita, to all the accessories and the hats and the canes. I love that because, I don't know, I really felt like, you know, there's those moments when you feel like. And I felt that that day. I felt like, oh, this is. It's more than me. I'm representing so many different men throughout time.

[Leah Faye Cooper]

It's true, actually, when you mentioned the accessories and the canes, there was a member of our team who said that one of the driving mantras of the shoot was the details make the man. And there's so many beautiful closeups of a pocket watch, a ring, bejeweled tie clip. And I have to say, on our team, we are always so excited when we're doing red carpet coverage for award shows. We can rely on Colman for a great accessory, A wonderful brooch.

[Colman Domingo]

Yes.

[Leah Faye Cooper]

An excellent detail. What was the. What's your personal philosophy on accessorizing?

[Anna Wintour]

Oh, man, you need. It's funny. I went out the other night somewhere. I went to the Fashion Trust Awards, and we chose a couple beautiful pieces. A necklace and some earrings, and they're gorgeous. And. But when we were leaving, I realized I didn't have a ring. And I don't know why I feel like I felt naked for the first time. I thought, is that. Is that enough? Just the gorgeous statement, jewels and all. And really, I didn't. So. Because I used my hands a lot and I felt. I really felt naked. We got on the carpet and honestly, I think that's why my hands are in my pockets.

[Leah Faye Cooper]

Oh, wow.

[Anna Wintour]

Because I felt like I had nothing to adorn my hands, and it was the first time I did that. And so really, I started to think about why. Why am I uncomfortable with just my hands being bare? Maybe that's okay sometimes. And I really started to talk myself through it. I'm like, I don't know what that is. That I feel like I need to have something. But I do know that I know. I like when someone's looking at you or the clothes or the story. There's something to look at in every such frame in a way, you know, from when you turn around from behind. I love the detail from behind. I love when, like. I love the. Like, if I wear a Miri, he always has a little a gold A or something in the back, which is kind of cool. I feel like it's all these small details. Even the socks. I look at everything. And my stylists know this. We've collaborated on so many things, Waymond and Micah, and I'm very clear about, like, oh, great, great, that's wonderful. Now, what about the socks? You know, you know me, standard black socks. Stop. Because when I cross my legs, someone's going to see that, you know, I'm like, so I want to be clear about every single thing we're doing. And in that. I love that Vogue shoe so much because it really was all these different beautiful accessories, especially like a watch. And I love to know I'm that person that wants to know the story behind the watch. Why was it done that way? How much does it Weigh how many jewels are in that. Because I feel like I'm learning as well. I love talking to artisans in every single way because I think I'm fascinated with them and how do they make stuff like that? Because I feel like that's not a skill that I have. So I'm very interested in how people make hats or glasses or why. Yeah.

[Colman Domingo]

You spoke with our colleague Marlee Marius for your cover story and talked a bit about getting to see Superfine, the exhibit and noticing a black mannequin and said, I had never seen images like that. I always had to look for vision outside of myself. Can you speak a bit about that?

[Anna Wintour]

When we went through the Costume Institute and we went through. First, we went through the boards and just that part of the storytelling, of understanding how throughout history we've had to define ourselves with clothing and style. That is just something, you know, like from whether when we were, you know, enslaved people and then eventually, you know, coming out of that and how we had to define ourselves in the world. I was. We were taken on a journey throughout that, and I was just. It was just thinking, doing a deep dive. And then when we went out to see the clothing, I got really emotional, and I. And I was trying to figure out why, because I wasn't in some emotional state or anything. I just saw these really emotional, dark, beautiful mannequins with wide noses and shiny dark skin, lean and beautiful. And I think it's because of the mannequins. I thought there was something. I'm like, have I. My brain was like, I haven't seen that before. And it was so many of them. And I thought. And they were all staring at me and their beauty, that their aesthetics that may not be Eurocentric. And they were so gorgeous. And I. And I got a little emotional, and so I asked them, like, are these mannequins something that. Like, is it a thing? Oh, no, These were made. These were created for us. And I thought, oh, yeah, because I never, you know, I. I'm not like a avid shopper, but, you know, I'm like, yeah, I go to Nordstrom's and Naaman's, and, yeah, I don't see that. I don't see me wearing something that I want to buy. You know what I mean? I always have to look outside of myself and imagine myself. And maybe that's also been key to our survival and us as people of color to imagine ourselves in a situation. But the idea to actually imprint it and say, oh, that's me. That's a representation of me. I do wear those clothes. I can afford that. I can have that style. It is accessible to me. It was very emotional. And I thought when I left there and I thought, I just got the first sampling of what this Costume Institute exhibit is going to be. It's going to surprise people in ways it's unimaginable. It's not just about clothes. It's about how do we imagine and reimagine ourselves. And that's for all of us, I think, you know, when it comes to men, women, people of color, you know, because we have to sort through the world to find images of ourselves to say that we exist and we exist in spaces that are not necessarily usually available to us.

[Leah Faye Cooper]

I mean, I, I think that's so powerful. And I. We had similar experiences when we all went to talk to Monica about the exhibit. And she's done such a wonderful job of making this so, I mean, she's made her book come to life in a way that I think we're all really excited about. The run through. Be back in just a moment.

[Anna Wintour]

Working at Vanity Fair, our entire lives revolve around press screenings, premieres, film festivals, Q&As, set visits, award ceremonies.

[Colman Domingo]

Not that we're complaining, it's pretty great. But you know that feeling when you.

[Leah Faye Cooper]

See a new film or show and you want to talk about it with everyone immediately?

[Colman Domingo]

We feel that all the time. Yes, we sure do.

[Anna Wintour]

I'm Richard Lawson. I'm David Canfield.

[Leah Faye Cooper]

And I'm Rebecca Ford.

[Anna Wintour]

On Little Gold Men, Vanity Fair's flagship entertainment podcast, we discuss today's most exciting films and TV shows.

[Colman Domingo]

David and I are fresh off attending.

[Leah Faye Cooper]

The LA premiere last night.

[Anna Wintour]

Break down the latest developments in the awards races. Gomez and Grande split the pop girly vote. And catch up with Hollywood's biggest movers and shakers to mean more. Welcome to the show. Thank you for having me. Whether you're a casual viewer or an industry buff, this is the podcast for you. New episodes are published every Tuesday and Thursday. Follow and listen to Little Gold Men wherever you get your podcasts.

[Leah Faye Cooper]

And we're back. What was your parents relationship to dressing and style? We're actually doing a really fun piece with sort of looking at family photos of Vogue staffers, the dandies in their lives. And it's been really fun to see pictures of people's grandfathers and uncles and sort of the dandies in our own world. And I'm curious if your parents sort of had a flair for fashion.

[Anna Wintour]

Well, my mother and my stepfather definitely had a flair for fashion. Very different. My mother would have a very strong wig game. Yes. In my job as a kid, I remember I would like watch my mother putting on her makeup, sitting in front of a mirror. I can imagine her right now and she had that powder puff that was kind of like burnt orange or something or just piled with fashion for her makeup. And it was like a color that was not matching your skin fully.

[Colman Domingo]

They didn't have all the ranges then.

[Anna Wintour]

You know, black women were doing the best they could, what they had. So my mother, I could just imagine my mother putting on her makeup and she would ask me to go choose her wig and so I would choose her wig.

[Leah Faye Cooper]

Wow.

[Colman Domingo]

Yes. You told Marlee that you really loved one that had an afro, braids and bangs.

[Anna Wintour]

Imagine it. Okay. Imagine this bang.

[Colman Domingo]

I still remember. I'm trying to.

[Anna Wintour]

Okay, get this. It was like, it was like a curly, beautiful afro, like big afro right here and then had cornrows down to here from the afro and then a bang.

[Colman Domingo]

All right, Mom.

[Anna Wintour]

Mom was killing it. And when she wore that, I thought she looked like, you know those velvet posters of Queen Sheba and things like that. Yes. With a panther and she's naked and whatever. My mother looked like that. She looked so beautiful. I thought, oh, I want her little bat coming to my school.

[Colman Domingo]

Mom was stepping out.

[Anna Wintour]

Mom was stepped out. So Mom. Mom had a great sense of style and my stepfather had a really good sense of style. I didn't realize it until actually, like I got older because he loved a nice pinky ring, which I now have a beautiful turquoise pinky ring. He kept his nails manicured and long more than my mother. My mother had, you know, workers fingers. She just didn't play with nails or anything that she wasn't a girly girl in that way. But my dad had beautiful manicured fingernails. Pinky ring he would always wear because he was a kind of a big guy, you know, the guys who, you know, carried their bellies as their strength, you know. So he's just like, you know, he wore really beautiful suiting trousers, always high waisted, a really good shoe, like a Flora Shine shoe and a nice watch. And they always told me something about like, I think that's why I always wear watch. Even at this age where most guys just, you know, have a phone. I think I wear watches because my dad wore watches. And I feel like that's a gentleman. And I always have a ring because I think because I watched my dad do that, I thought that's what men do. And I was gifted before my stepfather Passed away. He had a beautiful, long, black trench coat, and I don't remember him actually wearing it, but it was so beautiful and refined and very slim. And I don't remember him ever being slim, but he kept that in his closet, I think. And I remember he gave it to me before he passed away. I always have to have a long black tunnel, and I think it's because of my stepfather.

[Leah Faye Cooper]

Wow.

[Colman Domingo]

You said that you and Alessandro are cut from the same cloth. What about him and his sensibilities? And Valentino really resonates with you?

[Anna Wintour]

I love how maximalistic he is. I love that he has a sense of play and a sense of romance. When I went to the haute couture show last year, I feel like he really shared a bit of his soul, because it was actually a very emotional show, how he works with textures and history. And also his models. I love that his models were of every age and every hue. And I thought this is. He loves women, and also he loves men, and he loves for you to sort of be in your own. In a dream, in a way, and in a great story. And I feel like. I feel like especially maybe that's what I look for when I go out and when I dress and I'm on red carpets is I think we need to have some pomp and circumstance to counterbalance this world that we live in. I think we need some romance. We need some fantasy. I think the bigger, the better. And it's funny, the moment. Even the other night at the Fashion Trust, I realized I was drawn to anyone who was stepping outside and wearing a really huge hat, really dramatic makeup, really bold print. I'm like, yes, more of that. More of that. We have to live in the dream in order for the world to respond to that, you know, to have some flights of fancy. So I'm drawn to that. Yeah.

[Colman Domingo]

And you can definitely see that duality of loving fashion, loving, you know, beautiful clothes, but also really honoring, like, one's own culture and, like, authenticity. And like you said, Alessandro is a maximalist, but also very Italian and all those, like, romantic. Very romantic.

[Anna Wintour]

You know, he loves bows. He loves ruffles. He loves. You know, I mean, he loves beautiful colors and even. Even more. So when we went to. When we were designing for the Oscars this year, I remember the first designs came in, and I was. I wasn't completely thrilled yet, because there was very. It was black and white. It was very austere. I think that. I think they were. The team were trying to make sure that I sort of fit in with the Oscars, I was like, now, you know, I'm a house ambassador. Valentino, I want Valentino does. I said, I think I like. I love a classic Valentino red. And I said, I want that. Red, for me, is the color of love. It is a big heart. I said, I want to be a big heart in the world. Then it came back with designs and sketches for the Oscars. And once we settled on that red blazer and we played with it, it was either going to be a big red bow here or a sash. And then Alessandro sort of like, pared it down. What I love, they edit. They go big. First there was bows and ruffles and everything. And then they were like, okay, but this is the Oscars. They pared it down. I didn't have to give notes or anything. By the time we get to the final look, I'm like, that's exactly the way I want it to look. You know, I felt like it was a little bit of. It was a little bit of both. It was classic tailoring. It was strong shoulders. It was maximalistic and minimalistic at the same time. How do you do it? I was 100. Met you late.

[Leah Faye Cooper]

He's a magician.

[Anna Wintour]

Yes, he really is. Yeah.

[Leah Faye Cooper]

Coleman, I know you've talked about this before, but we. I have to hear your story of meeting your husband outside of Walgreens and the meet cute that ensued.

[Colman Domingo]

I've heard this story before, too. It never gets old.

[Anna Wintour]

Okay, here's this old chestnut, and I'll tell you, I'll preface it by this. I'm realizing more and more why that story keeps resonating and coming back, because at first, we told that story first in an issue of GQ years ago, and then Graham Norton got wind of it, and we told it on Graham Norton. And then suddenly the story has now recirculated again. And I think it's just because it's a tremendous story of hope.

[Leah Faye Cooper]

Yeah.

[Anna Wintour]

I think people are really reaching for it because in this digital age, it's tough. And I hear that it's, you know, people are like, ooh, it's ghetto out in these streets. It's rough out in these dating streets. I'm like, oh, really? I'm like, I've been locked. I've been in something for 20 years. Thank God I'm not out in these streets. But it's because, you know, we had this beautiful. I think I'm just a very open person. And I was walking down the street on a Sunday night. It was my last day of rehearsal before I was going into tech, and I thought I wanted to go get. I needed a mask. I need to get these pores together. So, Again, this is 20 years ago, 2005, and I'm walking into a Walgreens on Shattuck Avenue in Berkeley, minding my whole business. And out of Walgreens comes this beautiful. I mean, I just know it was a face I've never seen before. I've never seen. It was like the first time you see a Picasso. I don't even know what that is. Yeah. Why the eye over here? You know, anyway. But, you know, but really, it was his cheekbones, his skin, his hair. His hair was down his shoulder. And I was like. He had a lip piercing. I was like, who is this? My God. We looked at each other and we walked by, and we just, like. It was like things slowed down, really. I was on the phone. I was like, oh, my God, what is that? And then I was so stunned. I can't imagine that I actually went all the way in Walgreens. I walked back out. He was standing on nearby, talking to this girlfriend of his. She was very animated and pissed off about something. And he was like, aha. And looking over at me, and I was looking over him, and I was on the phone. I need to get off this phone. And so they. They, they. They finished talking. I finally got the phone, but by the time I get off the phone, they already are walking down Shattuck Avenue. And he keeps turning around that beautiful long brown hair and turning around, looking at me. And my hand goes up. It just instinctively goes up and does this. It waves come back. He doesn't come back. They walk off because she's dragging him down the street. I'm stunned. And maybe three days later, I'm online trying to buy a used computer on Craigslist because I had a grant to help out with my writing. And I could not stop thinking about this interaction for three. Three whole days. I thought, what if I placed one of those Craigslist Ms. Connection ads? I wonder if they even work. So I'm reading them, reading all these silly ones, and I get to the second page, and I remember it's the third from the top, and it says, saw you outside of Walgreens Berkeley. And I literally jumped up out of my chair. I said, oh, my God, that's him. That's him. And I clicked on. Like, I. Like. Like I was scared. Like, I reached out my long finger and I read the whole caption and said, I'm sorry. I hope this finds you. I was my friend and I were lost, looking for a party. You were wearing this. You had a Faux Hawk. Again, 2005, you were wearing this and you had a Benetton bag draped around your back. And that was me. And I found out later that he just posted that one hour before. He tried three different times and finally went through and I found it.

[Leah Faye Cooper]

Wow.

[Anna Wintour]

So we met up two days later at a restaurant at a bar called Dalva in the Mission District of San Francisco. Had our first date. I was trying to be a good boy and go home. He wouldn't let me. I said, I'll come over, but we'll just cuddle. And I couldn't sleep. And about 4 in the morning I just felt something very overwhelming. And I thought he was asleep in my arms. And I said, I think I love you and you're going to change my life.

[Leah Faye Cooper]

Oh, my God, it's beautiful.

[Anna Wintour]

I didn't know that he heard me, but he did. And we became domestic partners six months later. And then we've been together for 10 years and we got married 10 years later. So we've been together for 20. So that's our. Meet cute. He's my best friend, my business partner. He's a good guy. He even gets more beautiful with age. I love being in a relationship with somebody, watching you grow and watching them become something different. It's just nice. It's really nice.

[Colman Domingo]

That's beautiful. Wow, that's a beautiful story.

[Leah Faye Cooper]

I know.

[Anna Wintour]

That's the more in depth version I just gave you guys.

[Leah Faye Cooper]

We appreciate it. And I do think you're right that people are so happy to hear stories that show people being hopeful and it being rewarded.

[Anna Wintour]

I think so, because I just. But I've always believed that we'll find love, that love is available. And I think that, you know, like Maya Angelou would say, words are things and you have to really, you know, words will get into your couch. They will get onto you. What you say is true. If it's. If. So if somebody says, oh, it's terrible out in the streets, then it's terrible out in the streets. You just gotta be hopeful. You gotta be. You gotta. I go back to Sex and City. You gotta have a little Carrie Bradshaw. Because Carrie Bradshaw is still from sort of an analog time.

[Colman Domingo]

I'm Jamila Robinson, host of Food People.

[Leah Faye Cooper]

On Food People, we talk about how.

[Colman Domingo]

Food and drink shape our society. I talk to the luminaries making big.

[Leah Faye Cooper]

Moves in the culinary industry.

[Colman Domingo]

From chefs and entrepreneurs to celebrities and even activists.

[Anna Wintour]

The combination between a school and a Restaurant. The next generation of Ethiopian chefs.

[Leah Faye Cooper]

A lot more than food goes on in a kitchen. It's where you have your loudest arguments.

[Anna Wintour]

It's often where you have your loudest laughter. I'm Italian, Mexican.

[Leah Faye Cooper]

I'm a comedian. There's gonna be lots of opinions.

[Colman Domingo]

So if you want to go deep on how food creates the world we live in, join me on Food People.

[Leah Faye Cooper]

Food People is available on the podcast.

[Colman Domingo]

App of your channel.

[Leah Faye Cooper]

Which Sex and the City character are you?

[Anna Wintour]

What Sex and the City character am I? I think I was always a Carrie.

[Colman Domingo]

Okay.

[Anna Wintour]

I was always a Carrie. I wasn't really a Samantha or Miranda, but I'm a little Miranda, though, when it comes to. When I travel, I'm very Miranda. People. Like, I'm like, okay, I've researched. We're doing this. I'm that person.

[Colman Domingo]

All right.

[Anna Wintour]

Yeah. Yeah.

[Leah Faye Cooper]

It's good for everyone to have a little Miranda.

[Colman Domingo]

Yeah. I mean, that's a good. You said when you travel, that's a good person to have on a trip, I think.

[Anna Wintour]

Wait, who are you? Which character are you guys? And we're talking from the original, not the reboot original.

[Leah Faye Cooper]

This is not in just like that.

[Colman Domingo]

Oh, my goodness. I think I would have to say Carrie, because the whole, like, writer live in New York. Really loves shoes. I do live in, like, a studio apartment. Single girl, kind of.

[Anna Wintour]

And hopeful, right?

[Colman Domingo]

Yes, and hopeful. Thank you.

[Leah Faye Cooper]

She couldn't help but wonder, right? I mean, I've always very. Been very Miranda compassionate. I feel like I always had empathy for Miranda. I feel like whenever she's annoyed with the girls, I'm annoyed with them, too. I feel like we're always having similar. Similar thoughts, but I think a lot of us have. Have Carrie tendencies, and that's why she resonated so much.

[Anna Wintour]

Yeah, it's true. It's so true. I. I've always loved and I always tell people. One of my favorite character arcs, though, is of Miranda, because she starts in a place that's so, like, tough and hard, and she eventually, like, moves out of the city, moves to Brooklyn, gets married, has a kid, and she. She becomes the person she thought she would hate.

[Leah Faye Cooper]

Yeah.

[Anna Wintour]

And she's the happier.

[Leah Faye Cooper]

She softens, which is important.

[Anna Wintour]

I think that's everyone's journey, though. Like, literally, I live, like. I. I would like to say, because I live in Malibu now, but it's not the Malibu by the water that people imagine. It's like I live, like, in the country. It's like, in the country, in the mountains, and I'm like, Dirty. And I'm in boots and all that. In the daytime. I don't wash until like 3 in the afternoon. And I'm like, I become something that I never thought I'd be. I'm a city boy. I'm from Philadelphia.

[Colman Domingo]

You know, I grew up in New.

[Anna Wintour]

York and London and San Francisco. Now I'm just like. I'm like. I like the way I smell at 3.

[Leah Faye Cooper]

What are your daily, like, are you doing, I don't know, country life activities? Are you feeding animals?

[Anna Wintour]

Are you gardening animals? But I fully. I'm like that guy who, like, you know, I love. I love waking up and first thing I do is go out and go. Go till the land. No, but I go out to the garden and I love working on things and anything that needs to be done around the property, I love to be a part of it. Like if I have workers working on. Working on a couple sheds, I'm going down to see what's going on, how they're doing it and what is the wood and all that stuff. And then. Or like in the garden with my husband, we're like planting things around these new stairs we have built and stuff like that. But I love that stuff. I love going. I love going to the market. I'm like my. In that way. I love. Some people don't love marketing. I love to go to the market every day. I love. Because I also used to work in. When I worked in San Francisco and these restaurants, I would sort of be trained even as an act as a waiter from these top chefs that says, I'll go to the market every day and get fresh things and see what's available, go to the farmer's market. So I love marketing. I love that. I love that part of life. So I love going to the market. Like, so I'm living a very sort of country life, you know, just right outside of la, which I really like.

[Colman Domingo]

Yes. And then one day you're gardening, and then the next year on the red carpet at the Met Gala.

[Anna Wintour]

So I love that balance. I love the fact I get to sort of like dip in and dip out. I don't know if. I don't know if my life is sort of. I think maybe that's why I have so much joy being a part of things like the Met Gala or fashion weeks and things like that, because I feel like it's like dipping into a world of play and fantasy and storytelling, and then I can go to another story. I feel like I don't know if I could exist living in that space from long stretches. But when I'm there, I'm fully there and I'm fully invested. And I feel so happy, especially to be a part of this year's Met Gala. I think it's signifying so much, and there's so much on the line, I think, for so many. I think there's. I think. It's funny, I talked to some people who felt like they were nervous about this year's theme. And I'll tell you, it's been. A few black women. They were like. They were like, I'm nervous. What are they going to do? Are people coming in? Can't they claw? I'm looking uncomfortable. What's happening? No, got you. It's going to be good. It's going to be. It's going to be fine. Am I right? People were, like, a little worried, and.

[Colman Domingo]

I was like, oh, yeah.

[Anna Wintour]

I didn't expect. They're like, what are. Because they were like, what are white people going to be doing? What are they going to be wearing? I'm like, I'm telling you, it's going to be okay. Everyone's going to be respectful. And it's called tailoring for you, but it's highlighting super fine tailoring. It's going to be okay. Yes. Are you guys getting that at all? Have you got any worry? Are people like. I'm concerned.

[Colman Domingo]

Oh, yeah, yeah, yeah. And I think. I mean, I think people are always very anxious about the event just because it is, you know, it's grown into this huge cultural phenomenon, and lots of people are looking in this. You know, this year's exhibit is, you know, unlike any that the Met has ever done before. But it's exciting, and I, too, think that people will, I mean, look amazing. I'm looking forward to it.

[Anna Wintour]

Me, too. Me, too.

[Leah Faye Cooper]

I think anticipation is higher than it's been. I can't remember a time when people were more excited about a theme or an exhibition. And I also can't remember a time when people were more curious, anxious about how people were going to interpret that. So I think both things are happening at the same time.

[Anna Wintour]

That's great. I think it's going to be a cultural phenomenon.

[Leah Faye Cooper]

Can you tell us anything about your look yet, or.

[Anna Wintour]

I knew you were gonna ask that.

[Leah Faye Cooper]

What was the beginning conversation with you and Alessandro?

[Anna Wintour]

Yeah, the beginning conversations were. First, I started talking to Waymond and Micah, my stylist, and we've been able to tell some great stories together. And also understanding Alessandro's aesthetics. I was thinking about that and how he has really been playing with inspiration from, like, North Africa or Asia and things. So I started to lean into sort of the. What I assume. Because it's funny, I didn't even talk to him about this, but I said. I was like, oh, this is very. I can see a lot of North African influences in his last collection for Matt. And I thought, huh? And unlocked something in me because I feel like I like to play with history. And I thought it's a great opportunity to really take us, you know, across the seas. That's a clue. And then bring us across the ocean and really express another great moment in tailoring for men of color. And so for me, I will reveal to you. I'm gonna reveal something to you right now.

[Colman Domingo]

Okay.

[Anna Wintour]

There may be more than one look on that carpet. Ooh.

[Colman Domingo]

Okay. That is exciting. So the most of the, you know, the guest list is very, very, very top secret. But obviously, we know the co chairs. There's also a host committee this year. Is there anyone in particular who you're looking forward to seeing?

[Anna Wintour]

I think I'm interested in seeing. Huh. You know, a friend of mine, Jeremy O'Harris, I just love how playful he. I love how playful he is. I look forward to seeing what he wears. I look forward to a lot of. I want to see what the designers wear themselves. So, like, Wales Bonner and things like that, you know, I feel like I'm interested in that. I'm interested in particular what Anna's going to wear. I'm very curious about that.

[Leah Faye Cooper]

She hasn't told her. You should ask her since she asks you.

[Anna Wintour]

She's got my design.

[Colman Domingo]

I know. She didn't send you a selfie.

[Anna Wintour]

No. I'm like, anna, I need a fitting photo, please. Thank you.

[Leah Faye Cooper]

You and Anna just went to Othello together. How was that opening night?

[Anna Wintour]

First of all, I really. I know. And she's going to hear this, and I'm going to reveal to her how much I adore her. I really do. I just adore the fact that she came and met me at my hotel, and I just assumed that her driver would come up and, you know, ring, ring me up and say, oh, you know, we have a Miss Anna here for you. I said, oh, great. Wonderful. And I come down and she's sitting and I'll just show you because it was so beautiful. And I commented on it. She was sitting at the top of the couch with her legs crossed like this and her heels and her lean silhouette, sort of like she was silhouetted by the sun. And she looks over. I Said, well, look at you. Like that. I said, well, look at you. She just smiled, laughing. And I was like, I just love her. I was like, that's my date for tonight. She invited me out on a date, and she showed up ready to take me out. And we get in the car and we catch up really quickly about Met Gala, about. And about theater. We love talking about the theater together, and we just gossiped about that. And then we got up to Othello, but literally there was like a 13 minute delay just to get around the corner because President Biden was there. And so we both were like. I was like, wait, the theater's right around the corner. She was like, it is. I said, should we walk? And at first, I think everybody felt uncomfortable for us just walking down 8th Avenue, turning the corner. I'm like. I'm like, hannah, come on, let's walk. Let's just walk. She's like, come on, let's go. And we got a car, and then we walk. And we're like, it just makes the most sense because it's like a minute instead of 13. So we walked in there, and Anna and I, we just had a great time together. We. We love discussing and dissecting Othello, talking about whether we loved the costumes or not, and we just had a really good time. She's a really good hang.

[Colman Domingo]

Actually, Day After Met, do you have any plans?

[Anna Wintour]

You know what my plans for Day After Met, I actually know what I'm doing. I would hope that I had time to, I don't know, get a massage or a facial or something. But I'll be going back to work because I'm working on a movie with Steven Spielberg.

[Colman Domingo]

Oh. And I know.

[Anna Wintour]

Just casual. Just casual.

[Colman Domingo]

It's a little project, just a tiny.

[Anna Wintour]

Project with a little unknown director. So I will be shooting a film with Steven Spielberg in New York. So I definitely will be on set. And I feel like that's. If that's a way to celebrate, that's going to be the way to celebrate, you know, I mean, come on, Coleman.

[Leah Faye Cooper]

Last question. We'll let you go because I know you have a long day. What was your favorite memory from last year's Met Gala?

[Anna Wintour]

Oh, I can tell you that immediately. As. As we all know, you don't know what happens beyond that carpet, Right? You see the carpet, you see everyone. I trained for it by watching probably every Met Gala that Jennifer Lopez went to. It was like training. I was like, how do you do it? I'm like, JLo did it best. You get in that carpet, you sort of. You gotta. You gotta feel yourself. You gotta be like, I'm doing this. I'm doing this, right? With every angle. Like, you gotta feel yourself. Yes. And Jennifer Lopez knows how to do it. So I trained watching that. And then I go up those, and then I finished the carpet, and then we're going in. I didn't know what happens. We don't have a publicist with you or anything. And I thought it was the most delightful thing walking up those stairs. And I remember seeing all those folks dressed like nymphs or fairies sitting on the stair adorning the stair. And I was like, oh, my God. They were like sort of whispering to each other, and I felt special. Like they were looking at me like I was the prince walking up. Oh, my God. And literally I was floating because I fully had a cape ragged in the back. So I was like. I was like, am I floating? Is my feet touching the ground and I float up there? And then I look up, I'm like, oh, my God. That's what's next. I say hello to Jennifer Lopez and Bad Bunny and. And Anna went towards Zendaya and like, oh, my God, I'm being a receiving line. That's what I remember the most, is floating up those stairs and then seeing Anna on the other end. And I felt like I was being welcomed into something. So much so that I remember I wrote Anna afterwards. Thank you. Because I felt like I was. It was the first time I felt like I was living inside of art. I was a part of an art installation. You felt like art. You were amongst art. It was the most gorgeous feeling. I think it's one of the best nights of my life.

[Leah Faye Cooper]

Wow.

[Anna Wintour]

Yeah. Besides getting married, this is. Listen to a close second. Yeah.

[Colman Domingo]

Marriage. Then met gala.

[Leah Faye Cooper]

Well, Coleman, we can't wait for you to have another best night of your life this year. And thank you so, so much. This has been such a treat for us.

[Colman Domingo]

Yes, thank you. So delightful.

[Anna Wintour]

You guys are great. Thank you so much. This is fun.

[Leah Faye Cooper]

All right, bye, Coleman.

[Colman Domingo]

Bye.

[Leah Faye Cooper]

The Run through is produced by Chelsea Daniel, Alex DePalma and Joanna Solomon. It's engineered by Jake Loomis and James Yost. It is mixed by Mike Kutchman. Stephanie Karaoke is our executive producer, and Chris Bannon is Conde Nast's head of Global Audio. 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.

[Anna Wintour]

From prx.