Ellen Hodakova Larsson on the Business of Being Hodakova

Summary

Podcast Summary: Ellen Hodakova Larsson on the Business of Being Hodakova

Introduction

In this episode of The Run-Through with Vogue, hosts Nicole Phelps and Laird Borelli Pearson engage in an insightful conversation with Ellen Hodakova Larson, the creative force behind the innovative Hodakova label. Released on March 6, 2025, this episode delves deep into Ellen’s artistic journey, design philosophy, and the unique business model that sets her brand apart in the competitive fashion industry.

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Guest Introduction: Ellen Hodakova Larson

Nicole Phelps introduces Ellen as a visionary designer whose work consistently pushes the boundaries of traditional fashion. Laird Borelli Pearson reminisces about his first encounter with Ellen’s work in 2021, highlighting its ingenuity and the personal touch Ellen brings to her collections.

Notable Quote: Laird Borelli Pearson reflects on Ellen’s early work: “It was just completely ingenious, actually. When Ellen graduated, weekday gave her the opportunity to create some garments, and they were pieced together from existing things … something very much her own” (01:02).

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Ellen’s Background and Inspiration

Ellen shares her roots, growing up on a horse farm near Stockholm, where her parents fostered independence and a deep connection with nature. This upbringing instilled in her a sense of trust and intuition, qualities that profoundly influence her design process. Ellen speaks about how her father’s military background and her experiences in horseback riding shaped her understanding of structure and fluidity in fashion.

Notable Quote: Ellen elaborates on her upbringing: “They were releasing me and my brother out in the nature just to just be, I guess, and learn the way … It gives what I put into my brand and my work of figuring out the way where we're going or working with material that has something that you act on or that you react on” (04:54).

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Design Philosophy and Use of Materials

Ellen’s design philosophy centers around storytelling and the transformative power of materials. She emphasizes the importance of reimagining found and upcycled materials, believing that every piece has its own history and narrative. This approach not only promotes sustainability but also adds a unique character to each garment.

Notable Quote: Ellen discusses the essence of her materials: “I'm curious about material and how the perspective of that can change … It changes the perspective of what the actual raw material is” (07:30).

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Notable Designs and Red Carpet Highlights

One of Ellen’s standout creations is a top embroidered with spoons, famously worn by Cate Blanchett at a red carpet event. Nicole Phelps and Laird Borelli Pearson commend Ellen’s ability to blend conceptual artistry with wearable fashion, noting how Cate’s confident portrayal elevated the piece beyond a mere fashion statement.

Notable Quote: Nicole Phelps remarks on the spoon-embellished top: “It was part of her continuing … conversation with clothes, which was really … nothing. She doesn't need attention. So she's not wearing it to get attention. It's because she likes it” (09:05).

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Business Model: Balancing Couture and Ready-to-Wear

Ellen elucidates Hodakova’s hybrid business model, which seamlessly integrates couture and ready-to-wear collections. While couture pieces are handcrafted and exclusive, the ready-to-wear line focuses on limited reproductions, ensuring accessibility without compromising uniqueness. This model underscores Ellen’s commitment to creativity over profit, fostering a purposeful approach to fashion.

Notable Quote: Ellen explains her business ethos: “It's a purpose-based business model which is based on the creativity and the actual curiosity of surpriseness … all of the ready to wear is also connected to the couture” (21:14).

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Concept of Lagom and Sustainability

Drawing from her Swedish heritage, Ellen incorporates the concept of lagom—meaning "just enough"—into her brand’s philosophy. This principle advocates for balance and moderation, influencing both her design process and business operations. Ellen highlights the importance of sustainability, advocating for responsible production and the thoughtful use of materials.

Notable Quote: Ellen connects lagom to her work: “In Sweden we have this word called lagom, which is just enough … it creates some kind of balance … it feels quite nice” (24:03).

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Measuring Success and Work-Life Balance

When discussing success, Ellen emphasizes personal fulfillment and the pride of her parents over conventional metrics like profit. She advocates for a balanced work-life dynamic, suggesting that personal well-being directly enhances creative output. This perspective aligns with the broader industry conversation about redefining success beyond financial gains.

Notable Quote: Ellen reflects on success: “When my mom and dad are proud, I think that that's … It's so much bigger than getting approved by whomever” (26:01).

Laird Borelli Pearson adds that success, for him, is about inspiring others and fostering joy, which complements Ellen’s philosophy.

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Conclusion: Embracing Innovation and Authenticity

The conversation concludes with Ellen affirming the importance of intuition and presence in her work. She stresses the need for the fashion industry to embrace new methodologies and maintain authenticity. Ellen’s approach exemplifies a harmonious blend of artistic integrity and sustainable practices, positioning Hodakova as a forward-thinking brand in modern fashion.

Final Thoughts: Ellen’s dedication to storytelling through fashion, coupled with her unique business model, offers a refreshing perspective in the industry. Her ability to merge creativity with sustainability serves as an inspiration for aspiring designers and established brands alike.

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Notable Quotes Recap:

• Laird Borelli Pearson (01:02): “It was just completely ingenious … something very much her own.”
• Ellen Hodakova Larson (04:54): “They were releasing me and my brother out in the nature … and work of figuring out the way.”
• Ellen Hodakova Larson (07:30): “I'm curious about material and how the perspective of that can change …”
• Nicole Phelps (09:05): “It was part of her continuing … conversation with clothes … because she likes it.”
• Ellen Hodakova Larson (21:14): “It's a purpose-based business model … connected to the couture.”
• Ellen Hodakova Larson (24:03): “In Sweden we have this word called lagom … it creates some kind of balance.”
• Ellen Hodakova Larson (26:01): “When my mom and dad are proud … bigger than getting approved by whomever.”

Final Note: Ellen Hodakova Larson’s segment on The Run-Through with Vogue offers a profound exploration of how personal history, cultural philosophy, and innovative design converge to redefine contemporary fashion. Her insights provide valuable lessons on sustainability, authenticity, and the true meaning of success in the creative industry.

Transcript

[Arden Fanning Andrews]

This episode of the Run through is brought to you by ebay. I'm Arden Fanning Andrews, Vogue's beauty editor at large. Everyone's talking about tassels right now, and that's the moment that I end up typing it into ebay. I found the perfect vintage triple chain belt with golden tassels, and it just looks so elegant, timeless. And it's on the way in the mail to me. Thanks to ebay.

[Laird Borelli Pearson]

Foreign.

[Nicole Phelps]

This is the Run Through. I'm Nicole Phelps. Today we're recording from Vogue's Paris offices, and I'm joined by my fabulous colleague and frequent guest of the podcast, Laird Borelli Pearson. Hi, Laird.

[Laird Borelli Pearson]

Hi, Nicole. I'm so happy to be here with you. And I'm so excited to speak with our guest today, Ellen Hodakova Larson, creator of the Hodakova label.

[Nicole Phelps]

Laird, you are always first in line, and you wrote about Ellen's work way back in 2021. What do you remember about that first encounter?

[Laird Borelli Pearson]

It was just completely ingenious, actually. When Ellen graduated, weekday gave her the opportunity to create some garments, and they were pieced together from existing things. So a bit of a spirit of Margiela, but something very much her own. And then the following collection she did with a community of friends in Stockholm, which was cozy and homey and also enchanting to me.

[Nicole Phelps]

Well, Ellen is here in the office with us, so let's get into the conversation. Welcome, Ellen.

[Ellen Hodakova Larson]

Thank you.

[Nicole Phelps]

Your Paris Fashion Week show is in a few days, and it's time to check in. How are you feeling?

[Ellen Hodakova Larson]

I'm starting just bits and bits, starting to get things in order, but I'm very excited.

[Nicole Phelps]

Well, paint us a little bit of a picture of what getting things in order means.

[Ellen Hodakova Larson]

Organizing, shipping, getting the clothes ready, trying them on, and just finding out the location and all the setup and just make sure that it's the. Yeah, it's the energy that is going to be presented.

[Laird Borelli Pearson]

So, Ellen, it's your first podcast with us. Can you tell us a little bit about how and why you got into fashion?

[Ellen Hodakova Larson]

Yeah, I think I've been, like, since I was. I think I'm just interested in the communication part of clothing and, like, how it actually spreads your awareness around your surroundings or with people and, like, how you talk to each other. And that's definitely by just growing up with the mother who. Who was interested in representing herself or us. And my dad was in military, was in the army, and also was dressing very uniform. And I think it comes initially from that. But also I grew up in the Stable on the horse. And it feels like when I was competing in various horse competitions, it was initially by going, dressing by tradition and like how you actually dress to be appropriate. And then you realize that there's levels of the approach initially. So I think it's just started there. That's my interest in the medium. But the creative part definitely comes by curiosity of trying to understand possibilities and the curiosity of diving into garments and the material, it doesn't need to be garments, but like material itself and trying to understand the levels of the portrait of it initially.

[Laird Borelli Pearson]

Yeah, yeah, Fascinating. And also with the materials telling. I love how you speak about capturing the stories that are always there because you work with a lot of upcycled and found things.

[Ellen Hodakova Larson]

Yeah, it's all about the story initially. I mean, what we do as humans is to tell stories and how we share it is to create the understanding of the world and the commitment and who you are around, et cetera. So I think the stories are so important for all of us. And when we share it, it becomes to new levels and new stories are created. And when you understand a previous story or history, you also realize the presence, I guess. And the presence is what we have and time is limited.

[Laird Borelli Pearson]

Yes, I love that.

[Nicole Phelps]

I would like to hear more about your background. So you're Swedish. Where did you grow up? In Sweden. How were you raised? How did you find your way to horses?

[Ellen Hodakova Larson]

So I was brought up on a horse farm, initially on the like one hour from Stockholm. And my childhood was very much like what I see today was just being in the nature and in the forest. And my mom and dad was releasing me and my brother out in the nature just to just be, I guess, and learn the way. They've never been forcing us to something and they trusted us to learn the way we. Or learn by doing, I guess. And three weeks ago I went out riding and I haven't been riding for a while. So I jump up on the horse and I have been riding this horse before, but he is. He's like an animal who acts very. I mean, horses are. They want to fly and it's all about like looking for danger all the time. So your approach towards the horse is to give security, right? And security and trust for the animal to just walk around. So if you're riding a specific path, you just need to be secure, like to give the security through horse. This is not in danger, we're not in danger. And this will be a safe environment. And I think that that has shaped me a lot because it gives like what I put into my brand and my work of figuring out the way where we're going or working with material that has something that. That you act on or that you react on. It requires your trust and intuition. And I think it has something with this following the balance of the needs, I guess. Sorry for being philosophical, but it's just. It's an important thing. And I think that that has, like, my upbringing has brought that to me. I don't know. I'm just following the creativeness.

[Nicole Phelps]

It's funny that you say philosophical because we want you to talk more about your design philosophy. You are talking sort of theoretically, but maybe speak more concretely about found materials and why you choose to use. You often are using things that you come across. You know, you're not going to the fabric store necessarily and buying fabric or a factory the way another designer might.

[Ellen Hodakova Larson]

I'm curious about material and how the perspective of that can change. And when you put things in another sphere or you put them in another room, so to say, it changes the perspective of the piece. And also how you can work with repetition or you can work with minimalism to change this perspective of the piece. And that has always been creating a curiosity for me.

[Laird Borelli Pearson]

So is it fair to say that the materials are kind of like the horse and you are, you know, guiding them?

[Ellen Hodakova Larson]

Yeah, yeah, for sure.

[Laird Borelli Pearson]

And can you describe, for example, one of your famous jackets made out of a pant or the skirts that are 20 pants or something, so we get a word picture of some of the better known pieces?

[Ellen Hodakova Larson]

Yeah. So some of the earlier works was made out of, I think it was. It was like a skirt or a dress made out of 20, 40 pants or something. So it became like a huge gown. And that, like, when you put that kind of repetition into a material, it changes the perspective of what the actual raw material is. Or by using spoons, for example, when you put them into a frame, you're starting to look at them differently, and you will see the bits and pieces that is there, but you don't focus on it when you're firstly reacting on it.

[Nicole Phelps]

So the spoon piece that has become famous, Cate Blanchett wore it on the red carpet. Were you surprised to see sort of a conceptual, pretty avant garde piece of yours wind up on the red carpet like that?

[Ellen Hodakova Larson]

Not on Cate Blanchett, to be honest.

[Nicole Phelps]

You're a fan.

[Ellen Hodakova Larson]

Yeah, we all are.

[Nicole Phelps]

She's great.

[Ellen Hodakova Larson]

She's great. I think everyone should be if they're not. So, yeah, I think she's definitely rocking it. And she has to she has that perspective that can bring it. Bring the idea to life. Life.

[Laird Borelli Pearson]

And also because I think, for me, I trust her as a fashion person. She's made so many good choices that it didn't feel like it was a gimmick. It was part of her continuing, you know, conversation with clothes, which was really. I mean, there's nothing. She doesn't need attention. So she's not wearing it to get attention. It's because she likes it or. That's the feeling I get.

[Nicole Phelps]

Well, she's a celebrity who has made a point, I think, of rewearing pieces, you know, so you might see her in a dress or a dress that's been slightly modified that she's worn before. So when she wore that piece, I saw it as part of. Of her efforts to talk about the waste in fashion or the waste in Hollywood, and by showing that you can look fashionable and chic and fabulous in the oddest pieces, which is. It was basically a top with spoons embroidered on it. Right. How do you attach them to the garment and remind us what collection that was from?

[Ellen Hodakova Larson]

Yeah, I can't remember.

[Laird Borelli Pearson]

It was a fall collection.

[Ellen Hodakova Larson]

Yeah, it was 22.

[Nicole Phelps]

We're on fall 2025 now.

[Laird Borelli Pearson]

Yeah. Then it will be.

[Nicole Phelps]

Fashion does weird things. Weird things to time.

[Ellen Hodakova Larson]

Yeah, it was included. I did this kind of storytelling in that show about this also. The sound of it, it creates this kind of. It's like a huge bell when it walks around. It creates an aha moment, which is quite interesting. Yeah.

[Laird Borelli Pearson]

I love the idea of fashion being multisensory. That's one of my favorite things. But another one of my favorite things that you do are multiples. And someday I'm going to go and sit with every picture and pull them all out and make a portfolio. But I think you're most famous for belts. Can you tell us the story, viewer, history of Hodakova belt looks?

[Ellen Hodakova Larson]

Yeah, they've been a signature now for long. It's interesting with the belts because I kind of grew up with taking care of leather in the stable, and my dad was always taking care of his leather shoes, and he was also very proper. Like, I think it's about the longevity that the belt has, like, leather in general. It has such a. Like, if you take care of it, it's. It ages so well, and it sustains forever. And it gets. Getting better every. Every year if you take care of it. And it just started to be like. It just came very naturally, I guess, to just work with them, to start this kind of weaving thing. And to attach them together and see what, what kind of material that can be created out of this and what it happens when it is replicated because the perspective of them changes directly.

[Nicole Phelps]

We're going to take a quick break.

[Arden Fanning Andrews]

I like ebay for one of a kind items. Things that feel limited edition or collections that can't be found in stores. And with the ebay authenticity guarantee, I know that when it arrives, it's real. It is a piece that is coming from the designer's collection, the designer's archive. One of the biggest conversation points for some of the parties that I'll go to during Fashion Week are the pieces that I'm getting off of ebay. Everyone's a little bit intrigued and excited whenever they hear that you were able to find something on this digital treasure hunt.

[Nicole Phelps]

And we're back. Outside of existing elements, existing pieces, where do you find your inspiration? Where does inspiration come from for you?

[Ellen Hodakova Larson]

I think it's everywhere. It's in conversations, it's about being present and read the world. I would say to just pick up on the things that you react on, to be open eyed. I think everything surrounding us is there by so many reasons. But if you read it differently or if you're listening carefully or if you're seeing carefully or letting yourself feel, you will always find something that gives you inspiration. I believe. And this collection I've been. I think normally when I start a collection, I'm a little bit confused where I am just because it's almost like a diary entry, like finding out where I am in the world at the moment and where the world are and what to react on initially. So it's always starting to figure things out. And when you start to realize and follow the intuition of where you're going on, what, what makes a mark on you or things that makes you feel when you're following those paths, it gives you something new and then it develops, I guess. Yeah, I think the inspiration is everywhere.

[Nicole Phelps]

Can you think of a thing recently, something you saw or heard or watched.

[Ellen Hodakova Larson]

That there was a guy turned you on? Yeah, it was, it was an old man who was out on the street and he was wearing this, like, he had this super slow walk and he was just like he was listening and being very aware of his surroundings. And he wore this cute, cute, very tight, nice coat. But he was still so present in the world. And I think that that kind of presence was, you know, we were connecting in that because I was watching him and he was watching the bird or, you know, like, yeah, that's my bitten Pieces. Yeah, it starts. I don't know, you can't really source for it. It just happens.

[Laird Borelli Pearson]

So not a mood board kind of thing?

[Ellen Hodakova Larson]

No, I mean, it. It can develop into one, but I think it always starts by intuition and by occasion.

[Laird Borelli Pearson]

I'm wondering who you look up to or whose work you admire and if that has any impact on what you do.

[Ellen Hodakova Larson]

I think everyone is. I think everyone looks up to someone. And I think my mom has always been my biggest person. And of course, there's actors and movie makers and dancers. I love Pina Bausch.

[Nicole Phelps]

Pina Bausch is a name that came up just a couple of days ago at a Ferragamo show. And so I'm curious, what is it about her that resonates?

[Ellen Hodakova Larson]

I mean, I think it was the same season we did the. It was the season after the spoon things. So it has to be spring, summer 24, that we were. I was doing a peanut show, and it was all about her movement and the work that she's. So much has, like, given to the world. And, yeah, I think it's the flow and intuition that she can express this in such a minimal way, even though it's so strong. It's decomposition. It's all about the compulsion. Composition, or how do you say it exactly? And, yeah, it just brings you to so many emotions. And I think that this emote. Like, maybe we're in a period in the world where we are reconnecting to emotions and not being to. We're more open to share vulnerability to each other. And I think that this way of sharing vulnerability is more inclusive. It's exciting that it. That it is a Peanut Bausch moment this year. Feels like it's on everyone's lips. Yeah, I think it has something to this kind of reconnecting to yourself and letting emotions actually speak for you instead of being too detached, I guess.

[Nicole Phelps]

Laird, you've been to several of Ellen's shows. What emotions do they conjure for you?

[Laird Borelli Pearson]

Well, so many emotions. I mean, the sheer creativity, the unexpected use of materials. Last season, the boots, you know, as the double boots. And, I mean, there's a small element of surrealism, but I think it goes further than that because there's such a joy in materials. And the thing that always strikes me about you, Ellen, is I always feel that you're very grounded, you're very solid in yourself and confident, and that brings something to the close. It's not for show. It's like a real study and work through, and I think that comes through and there's always a surprise. For example, last season you collected vintage canvases paintings and used both the canvases and the frames, which was really, really ingenious and delightful, actually.

[Ellen Hodakova Larson]

Thank you, Lard. I'm in the presence of just finding out the way I think the work by creating something out of a material is by. You don't know where you're going until you actually work with it. And it's all about the intuition in the material and how it reacts to you. And when draping or just creating the sculpture, I think it has to be a curiosity of what it can become instead of deciding before what it should be.

[Laird Borelli Pearson]

And it's also humorous. I mean, I think the tres bustier was genius. And you had. And also that was the show wear berets because you were showing in Paris and you made something with lots of. Was it a skirt with berets or something? So there was something like sweetly funny also about it that. And yeah, it was just like a tray as a bustier. But it's very prescient because so many people are doing armor these, these days. And that was brought into the plate.

[Ellen Hodakova Larson]

Yeah, yeah.

[Nicole Phelps]

More with Ellen Hodakova Larson after the break. I want to talk about the business of Hodakova because these are very avant garde and sort of one of a kind pieces that we're talking about. How do you sell those? Do you sell them to individual clients as one offs? Can you reproduce them if you have several different stores that want pieces like that?

[Ellen Hodakova Larson]

Yeah, we have different parts of the business model that works for the couture customer, which is very. I mean, everything is handmade and everything is super. Like all of the pieces are very much a choice. And so the more couture pieces, they are definitely one of. They're super unique. They are. They are by request. But then we have another part of the collections which is more of the red it to wear, which is. I mean, we've been creating this business model which is. Or the business model is combined to how the garments are actually made. So it's possible to do several of them. Not huge amounts, but enough. And it's also about following a little bit what's. What's there. I mean, if we find a part of sweaters, let's say, then we know the amount, the maximum amount of what we can sell in that style. And then we have another part which is, yeah, like the carryovers, which is simple changes in. In different simple styles. That's easy to wear, but that's definitely replicated. But just by the right amount. I would say it's not about the brand, is not about pushing any numbers to gain more profit. Is a purpose based business model which is based on the creativity and the actual curiosity of surpriseness. I guess. So all of the ready to wear is also connected to the couture.

[Nicole Phelps]

So that really is doing business differently. I don't think you'd have a lot of, you know, designers and certainly not business leaders at fashion brands who would say that, you know, they aren't in the business to make more and more money. I mean, that's sort of what sort of this. The big subject du jour is. Right.

[Ellen Hodakova Larson]

Yeah. And I think, do you find.

[Nicole Phelps]

Is it. Is it hard to sort of operate this way or are you finding a surprising amount of people who, you know, are responding to it?

[Ellen Hodakova Larson]

Yeah, I am. But that's also about sharing the idea of it, I believe. It's not about me following a demand from anyone and I think nobody should. And if you're starting to ask what do the customer want, then you are on the right wrong track. You can't work that way. It has to come from your inner self in a way, what you want.

[Laird Borelli Pearson]

Do you think it's related in any way to the Swedish idea of lagom? Not too little, not too much.

[Ellen Hodakova Larson]

Yes, I do. I've been having these kind of discussions with my friends so many times. So in Sweden we have this word called lagom, which is just enough. And that's mainly by balancing not being too much or too little. And I think that creates some kind of balance in between, which feels quite nice. Or it's like an energy which is just enough. And that can definitely be approached to whatever work you're having or what you're doing or creating and the business model that has to be made or how you follow the route initially.

[Laird Borelli Pearson]

This is so interesting what you're saying, because middle has been a word that has been reverberating, at least for me this season. So people, you know, we have luxury, which is in a state of flux and you have high street and then how can you. There are different ways to exist in the middle of these two extremes.

[Nicole Phelps]

Yeah.

[Ellen Hodakova Larson]

And I think we need to try new things. It feels like there's an era of doing things differently in so many ways and we have to just try things out. And I mean, I started my brand directly after graduating and it's just learning by doing. And I think it's a good thing because then you don't end up following systems that has been created before. But you're trying to find your own way in making it work. And then you can find new paths or new ways to do it. Doing it and create your own system in a way.

[Laird Borelli Pearson]

I'm curious, Ellen, how do you, you know, you're. You're creating a new framework for, you know, going forward in fashion. And within that, how do you measure success? What does it mean to you?

[Ellen Hodakova Larson]

How do I measure success? Do I have to measure success? I don't know. Maybe everyone does. I haven't thought about it in that way. But what came across my mind just now when you asked me was when my mom and dad are proud, I think that that's.

[Laird Borelli Pearson]

I'm gonna cry.

[Ellen Hodakova Larson]

It's so much bigger than getting approved by whomever.

[Nicole Phelps]

Yeah, I mean, I think something similar. Like it's a hard question to answer, but when I feel like a sense of contentment with the work that I' you know, a sense of achievement, that that's enough success for me too, I think. What about you, Laird?

[Laird Borelli Pearson]

I think. I mean, my dream for the industry is a better work life balance. When I talk to you and you've been horseback riding or I talked to Palomo and he's walked his dog at lunch, I just have to think that people having a little time to breathe, to do something that's not a mood board and just to be in nature someone or some animal that you love is just important and for not any measurable thing, but it does make a difference. So I think for me, success is being able to talk to someone that inspires me. Actually, I don't know if that's success, but that's joy. I guess I'm not answering the question, but that's joy.

[Ellen Hodakova Larson]

Interesting that you say that because you're talking about time and how we spend our time. But by measuring success about in that kind of way of talking about time, when it's actually the opposite, it creates some kind of delusional approach towards yourself to others and your own well being, I guess. And by enjoying life and by enjoying the present, you are able to do better work. We all know that. So why should that not be included if it's included in your work? Pace of I will do a great job. If I'm able to get inspired to get time to think, to have time to react, to spend the present in exploring and reacting, then your presence will be so much better. Better at work instead of not having time for anything. Which means that, I mean, that would be the most optical thing for everyone. Optimal. Sorry.

[Laird Borelli Pearson]

And that brings up presence, like present, like in time and being present in the clothes. Because I think you're a maker and I think that your presence is there.

[Nicole Phelps]

Well, I have enjoyed this present time with both of you very much. Thank you, Ellen, for joining us.

[Ellen Hodakova Larson]

Thank you so much.

[Nicole Phelps]

Thanks, Claire.

[Ellen Hodakova Larson]

Thank you for having me. So excited to have you for the show.

[Nicole Phelps]

That's it for the Run Through. See you tomorrow. The Run through is produced by Chelsea Daniel, Alex DePalma and Joanna Solotarov. 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.

[Arden Fanning Andrews]

The other day I like, went on a real ebay spree. There's this huge push for like 80s opulence and 80s sort of glamour and we're going to see that returning. And so I was already kind of tapped into that just from my gorgeous ebay watch list. And I found a really beautiful Chloe blazer from the 80s and a really great Miu Miu kilt, Bee's great Dior boots. And I'm combining them all together. Sometimes trend forecasting doesn't require something that's going to be, like, produced in the future. Sometimes you can, like, tap into the past and tap into the archive as well. That's what makes ebay a fun place to actually discover things because you're not going in with something so specific in mind, but you have an idea of what you're interested in or what you're excited about or, you know, just truly trend forecasting. And so one thing that I would say people should be watching out for is like very opulent 80s style.

[Ellen Hodakova Larson]

From PRX.