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- [00:01]
Chloe Mal
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- [01:05]
Nicole Phelps
This is the run through. I'm Nicole Phelps. Today I'm joined by my colleague Francesca Ragazzi, head of editorial content at Vogue Italia. Ciao, Francesca.
- [01:15]
Francesca Ragazzi
Ciao, Nicole. Happy to be back on the show.
- [01:18]
Nicole Phelps
I'm very happy to be with you. Before we get into Milan Fashion Week coverage, an important announcement for our run through listeners. This week we are giving you a front row seat at Paris Fashion Week. We have four back to back episodes and we'll be sharing in real time our thoughts on designer debuts, behind the scene, interviews with front row stars and editor reactions to some of our favorite collections, all straight from Paris. Tune in October 2nd through the 6th for your exclusive look into Paris Fashion Week. You won't want to miss it. Okay, here we go. We're going to talk about Milan. It is the last day. It's been a long week. We've made it through New York and London and now we're in the Italian fashion capital. There was a lot of news this season. There were four debuts here in Milan, which is a record, I'm sure. A special guest sighting. A very special guest sighting at Dolce and Gabbana. And of course, Tonight is the 50th anniversary celebration of the late Giorgio Armani's business. And and you, Francesca, had something else on top of all that. We will get to Vogue Italia's Cinemoto club. But first, the headlines. What was the biggest story of the week for you?
- [02:32]
Francesca Ragazzi
I have to say I find the whole season very cinematic like in Milan because I mean, it started in a very inspiring way with the movie presented by Demna at Gucci. And I thought it was very great to see his creativity vision behind it. The fact that the Lookbook was released the day before and they were all stereotype of Italian culture and these same people were attending the premiere the day after. And I thought that was very smart to see the clothes right on people wearing it in a believable context. And the movie itself was such a hit.
- [03:18]
Nicole Phelps
Yeah. I was really impressed with the way they completely changed the stock exchange. Right, that's the stock exchange, where they turned it into a beautiful theater with sort of like art nouveau detailing on the ceilings. And it was so starry, as you say. In addition to some of the stars, there was Gwyneth Paltrow. Right. And Serena Williams. Yes.
- [03:40]
Francesca Ragazzi
And. And even then, I don't know if you remember, he seemed to have really much fun. He was there enjoying the premiere, saying that, you know.
- [03:50]
Nicole Phelps
Yes. I think. I think he knew that he was making a really big impression. And I would say that all of debuts this week made a really big impression, trend wise. Is there anything that you noticed or you really liked?
- [04:06]
Francesca Ragazzi
I loved in general, the colors, palette of everybody. And I think especially the debut really brought us closer to the details and to the looks. I have to say, I absolutely loved what Dario did at Versace.
- [04:25]
Nicole Phelps
Me too.
- [04:26]
Francesca Ragazzi
I thought the whole experience was phenomenal. Transforming the Pinaco, Tevic, Ambrosiana, the museum, into a house. It felt lived in. It felt a woman that you want to be right away with all the details, even some wrong details and reference of versace from the 80s, but in a very modern way. I think he did a very sophisticated job.
- [04:54]
Nicole Phelps
Yes. And how incredible. I myself have been coming to Milan for 20 years, I swear, and I had never even heard of this museum. And it's such a special place. So I thank Dario for introducing me to it, first of all. And next season, I want to come a day early so I can just spend some time exploring it.
- [05:13]
Francesca Ragazzi
I agree. I think I like that our generations, because this is what I try to do also with Chinamoda Club, is bringing people to hidden gems, like movie theaters that are a bit not mainstream. I think what we are trying to show is really the hidden gems of the city, and that has a cultural value as well. Like, I like that right after the show, I invited everyone to pack to have dinner. And it's such an iconic place for Milan where the food is presented and it's very excellent for the Milanese lifestyle. Culture, it's very real to Milan soul. So I think there is a. A willingness to push for what feels authentic and what people really want to do. You know, go to the theater and then have a dinner, a pack and go to the museum in these looks. That feels for street as well, not only for red carpet. So I really think that's the main trend. Also. Simone Bellotti did the same. I think he did a very respectful debut to what Jill Sander always stood for. And I think it was a nice gesture to go back to the headquarters to present there.
- [06:32]
Nicole Phelps
Yes, we went there for so many years. Right. All through Raf Simmons tenure at Jill Sander. And then I guess it was around 2017, basta, we stopped going and it was nice to go back.
- [06:46]
Francesca Ragazzi
And sometimes maybe you need to go away for a while and then go back, but it feels coherent. And I think they both, for example, Simone and Dario, they both show confidence on what they are doing. They feel in control of their narrative, which is so important. Whether people like it or not, you need to love it. So I think you could respond well to the consumer.
- [07:10]
Nicole Phelps
Yeah, I think we often talk about like generational shifts in fashion, but I really do think that this is a moment of generational change. In Milan, you had Dario, you know, really thinking about Versace for a new generation. And, you know, people who knew Johnny personally saw a lot of Johnny in it. And that, I think could go both ways. You know, some people probably resisted it, who remember it from the first time, but then, you know, others didn't. But then you had a whole. I mean, every young person that I talked to after the show was mad for it. Totally, totally crazy.
- [07:47]
Francesca Ragazzi
I'm among them. And I mean, generational shifts are hard. You know, there needs to be difficult. There is no shift with, you know, difficulties. So I really hope the designer will keep going.
- [08:01]
Nicole Phelps
Yes, no shift without friction. Okay, we're going to take a quick break.
- [08:20]
Chloe Mal
Hi, I'm Chloe Mal, head of editorial content at Vogue and host of Vogue's podcast the run through. This week on the show, we are giving you a front row seat at Paris Fashion Week. We have four back to back episodes where we are sharing real time thoughts on designer debuts, behind the scenes interviews with front row stars and editor reactions to some of our favorite collections, all straight from the streets of Guy Paris. Tune in October, 2nd through the 6th for your exclusive look into all things Paris Fashion Week. You won't want to miss it. I'm putting the finishing touches on my fall wardrobe and hopefully you are too. Luckily, there's still time for you to get great deals at Macy's VIP Fall Fashion Preview Sale. Shop now through October 5th for 30% off of the best shoe, clothing and accessory brands, plus 15% off beauty shop@macy's.com or in store.
- [09:14]
Nicole Phelps
We're going to jump in right now. Let's scroll back to Tuesday and the first, the first project, the first show we saw wasn't actually a show. Actually, we saw the presentation part of it. But tell us what Glenn Martens was up to at Diesel.
- [09:29]
Francesca Ragazzi
Glenn is phenomenal. Honestly. He really, again, gave a clear vision to Diesel. This is democratic, this is fun. It's for the people. I want to include the city. And doing an urban egg hunt in the middle of fashion week, involving the audience, having fun, creating a context. I mean, honestly, this is what Diesel has to be. And again, he always come up with these ideas in such a genuine way. I really thought that was a great success. And sometimes we don't need another show, but we need a new way to approach things. And he always deliver.
- [10:08]
Nicole Phelps
So the afternoon we were in this sort of warehouse space and all of the models were in their little plastic eggs and there's a, you know, a hole in the back where they can emerge and get out of quite easily and breathe. Thanks.
- [10:22]
Francesca Ragazzi
Yeah, he.
- [10:24]
Nicole Phelps
And then after we came and went, they shipped the eggs all around the city and the kids and, you know, grownups too. Right. Were chasing them around. And there was a reward for the person who found all the eggs.
- [10:36]
Francesca Ragazzi
Yeah. Piece of the collection as well. Denim like Diesel.
- [10:41]
Nicole Phelps
And I just think that is so clever.
- [10:44]
Francesca Ragazzi
I think we should get and know who was the winner. We should interview, we should profile them.
- [10:48]
Nicole Phelps
That's a great idea. I'm going to get on that right after this. Uh, let's also talk a little bit more about Jill Sander. Simone Bilotti came from Bally, which, you know, a Swiss brand mostly known for accessories. It really didn't have much of a fashion profile. But very quickly at Bally, he caught people's attention. And he didn't last there long, four seasons, because Renzo Rosso, who runs Only the Brave, snapped him up for, for Jill Sander. And I liked the way that he brought some of that real world attitude that he had at Bali, Right. When he would do the jeans with a little peplum jacket and the deck shoes. And there was a touch of that that he brought to Jill in addition to the 90s style, minimal tailoring that.
- [11:39]
Francesca Ragazzi
Well, you can see also his taste also. I think he's such A great designer in accessories. And, like, the shoes were very great again, because, remember, at BAL did a show that became a hit. So I think he has that very, very clear. And I think he was a great balance. It was a very honest show with a great balance, very loyal to his aesthetic. I liked also the front row because he has a great community of friends, artists, creators. I mean, I really like his community. And again, the color palette, you know, it was for some reason that stayed to me. The grays. All the grays. There were many shades of grays combined with the electric color, the blues, the orange. So I think. I mean, and we love him. So.
- [12:36]
Nicole Phelps
Yes. So color was a big story at Fendi too, which was the afternoon following the Jill Sander debut. What did you think of Fendi?
- [12:44]
Francesca Ragazzi
Well, the first thing stayed to me from Fendi is actually the Palazzo. They opened in Monte Napoleone. I don't know if you've been incredible, and I love the idea that they didn't use an archar, but their internal architecture team, and they are collaborating with these artists that did an amazing work on the ceilings. So really, I really believe in the return of physical retail and the retail being the manifesto of the brand. So for me, the big hit of Fendi was the Palazzo Fendi, Monte Napoleone. And other than this, I mean, I love the collection. I love the casting. It feels very, very Fendi. Very, very coherent to Silvia and the Italian.
- [13:39]
Nicole Phelps
Yeah. One thing you couldn't really pick up on the Runway necessarily, so I was very glad to see people's re. See pictures are those peekaboo bags that are actually embroidered really elaborately on the inside, which was so extravagant and kind of decadent, but also fabulous. And, I mean, that's really what Fendi is good at, right? These next level, intricate details, embroideries, embellishments. And for the woman or man who wants to, you know, it's sort of like a texture and emotional, tactile experience.
- [14:19]
Francesca Ragazzi
And you're right, I missed it too completely. That's why maybe I'm so excited about the story, because it's where I could see the bags with the details. They also brought back this iconic bag. Pasta. The piece of pasta. I mean, it's so fun.
- [14:36]
Nicole Phelps
So let's move on to Prada. Prada is always one of the biggest shows of Milan, and this was an interesting one, because typically, the Fondazioni Prada is really sort of lavishly or interestingly decorated with a set. And I have to say that having gone there for years and years, I never Knew there were all these windows because, yeah, it's always made up. It's always made up as this really big concept set. And it was nice to see the sunlight pouring through and on that bright orange floor. And again, there was. There was a lot of color, but less so than color. They were really thinking about sort of unlikely shapes, right? Like, really pushing at the definition of, like, what normal clothes are. You had these bras that were not bras, these skirts that were sort of didn't touch the body, they hung off the body via suspenders. What did you think about it and what do you think people, obviously there's so many Prada fans in fashion. What do you see them pulling out of it to wear?
- [15:42]
Francesca Ragazzi
I think to me, that was such a wearable way of looking at Prada. So, again, I think it's always what people retains from Prada is the message. So we really see Ms. Prada and Raf Simons going for what is real people want to wear today and what is real clothes today. So I think this is the exercise they push all the industry to do. I personally didn't, like, remember one look that stood with me, but it's more the message of wearable clothes.
- [16:28]
Nicole Phelps
And then after the Prada show, people rushed off to Emporio Armani. And obviously it was only a few weeks ago that Mr. Armani died at age 91. And he had been really looking forward to this celebration. And in fact, there was an exhibition that opened earlier in the week at the Pinacoteca Brera, I think. Right. That was actually the first thing I did when I got to Milan. And I have to say, I was really moved by it. The clothes are arranged throughout this museum. And according to his, you know, public relations representative and according to the curator, he really didn't want to have the clothes interacting with the paintings and the statuary. He felt like that was too pretentious. Like, fashion is one thing, you know, important art is another thing. And instead, the idea was to match the clothes to sort of the colors of the room. I just remember one look that Juliet Binoche wore to the Cannes Film Festival, and it was navy. And it was in this teal room all by itself, you know, teal painted walls. And I guess the reason I was moved is because there were pieces from throughout his career with a real focus on the early 90s, I thought. And the early 90s pieces looked so good. There was this gray, charcoal gray suit with, you know, the soft tailoring that Armani was famous for. And it looked like if I could have worn that, you know, out of the museum to the shows for the rest, I would have been the happiest girl. And I love that when fashion it's like over 30 years old, but it has such a. Such a resonance, you know?
- [18:13]
Francesca Ragazzi
Yeah, I agree. And I love the fact that we. Everything that we are seeing these days, from the exhibition to the emporior Armani to the celebration show we are seeing Tonight for the 50th anniversary, everything has been orchestrated in every detail by Mr. Armani himself. So I think he really try to put together all his archival pieces within the city of Milan. That for him was always part of his conversation within the future. So I think tonight we are ready for a big emotion with people from his staff, his employees, but also the Hollywood and Italian cinema and institution will be there. I think many, I expect many, many people wearing Armani, but not just borrowed Armani for the night. Really having their own Armani pieces or the piece from your mom, like wearing them with pride. With the really national pride.
- [19:20]
Nicole Phelps
Yes. I admit to looking for vintage armani on the RealReal and found a beautiful beaded cardigan jacket and it was a bargain and I just waited a fraction of a second too long. I went back probably a couple hours later and someone had. Had bought it so bad on me, I should have gotten it.
- [19:41]
Francesca Ragazzi
I also admit I asked to borrow a dress because it's so beautiful and embroidered that I cannot afford it myself. But I want to celebrate this moment in a very, very elegant way.
- [19:55]
Nicole Phelps
Tell me, Francesca, as an Italian, what Giorgio Armani means and meant to Italian fashion, but also to Italy more broadly.
- [20:08]
Francesca Ragazzi
To me he's a gentleman, has always been so kind and so close to his work. And he was always very rigorous. He was always working, never let a detail away and always expressing his own DNA, kept his company putting always the people at the center thinking about the people who were buying it. So I think he's really someone who did it in a very coherent way from day one to the very end that he was so meticulously organizing.
- [20:54]
Nicole Phelps
Yes, it's going to be a beautiful evening, I'm sure. Did you make it to J.J. martin's Le Double J presentation?
- [21:00]
Francesca Ragazzi
I'm sorry, J.J. i love you so much. It's always so fun. I love. We love having JJ and America. Such a strong American woman in Milan.
- [21:12]
Nicole Phelps
I knew JJ as many of us did when she was still a journalist and now she's a fashion entrepreneur with this fabulous headquarters in the. Is it the Navigli?
- [21:23]
Francesca Ragazzi
Yeah.
- [21:24]
Nicole Phelps
Yes. With the beautiful. What does she call it the galactic deck up on top where, you know, they perform healing rituals, meditation practices.
- [21:37]
Francesca Ragazzi
Yeah, we have to organize a session with the Vogue team. J.J. we said that.
- [21:42]
Nicole Phelps
Yes, yes. And you know, talk about good energy. Her clothes are, you know, always full of print and color and you wanna wear them.
- [21:52]
Francesca Ragazzi
I mean, just, they are amazing.
- [21:54]
Nicole Phelps
Yes. And clearly so do a lot of women because she has 100 employees. She told me. So good on her.
- [22:00]
Francesca Ragazzi
I'm glad I made it to a few younger designers.
- [22:04]
Nicole Phelps
Yeah. Who else did you see this week that you like?
- [22:07]
Francesca Ragazzi
I saw Marco Rambaldi. I did see Institution by Galib Ghaznov. Not at the show, but I saw the collection. I made it to Sune, which was also an interesting experience.
- [22:24]
Nicole Phelps
And yeah, I was a first timer at Ghalib's show and I was impressed by the level of artisanship that he was, I think using artisans from his native Georgia, Georgia and Uzbekistan. Quite strong, strong shapes. And then the Sune show was very interesting. It was staged as an auction. Right. And I, I believe they are, they have left the Sune brand that they, you know, they started 10 years ago and so they auctioned off the brand IP and themselves and sort of there was no Runway show at all. There was, There was these two sales and we walked out 10 minutes later. And it made a very strong statement about, you know, the difficulties of being an independent designer in a fashion world run by, you know, huge behemoths.
- [23:14]
Francesca Ragazzi
Yeah, exactly. Among the big, big brands. Seeing so much creativity coming from this duo based in Milan that they opened a radio, they did a magazine, they always did very conceptual shows. They're very design minded. And, you know, instead of doing another chapter of creativity, they are just stepping out of, of their own brand creativity. So I, I look forward to see what's next because I'm sure they're cooking something.
- [23:44]
Nicole Phelps
Yes, they will definitely reappear in some other guys sometime soon.
- [23:59]
Chloe Mal
Lights, camera, fashion. This year, Vogue world is heading to Hollywood. The scene, the legendary Paramount Pictures Studios lot.
- [24:09]
Nicole Phelps
The plot.
- [24:10]
Chloe Mal
Cinema's most iconic costumes. Meet fashion's biggest designers. Think Edward Scissorhands tailoring and Marie Antoinette opulence. It's drama, it's decadence. It's a costume department come to life. The countdown starts now. Learn more about the livestream event of the season@vogueworld.com and cut.
- [24:36]
Nicole Phelps
Another show that I thought was sort of better than it has to be is Todd's by Matteo Tamberini. I think that what he's doing with leather there, it's, you know, really believable, very chic. And I think he's a really talented designer.
- [24:53]
Francesca Ragazzi
He is. And I can see the Italian style in his pieces, and I love the casting. And I think he's starting to really have fun and taking confidence with the brand. That always take a few seasons. And I think he's getting there.
- [25:13]
Nicole Phelps
And great shoes. I thought.
- [25:14]
Francesca Ragazzi
Yes.
- [25:15]
Nicole Phelps
The shoes are naturally, of course, because it's Todd's. But going back to what we were saying about Simone Bellotti at Bali, if you have a hit shoe, you can really make a mark in fashion. And. And so to focus on that is a smart thing to do, I think.
- [25:32]
Francesca Ragazzi
Yeah. And you want people to focus on a clear, even simple message, like what you are best at. And then people stay with you with that element, like a shoe, for example, and then they follow you the season after to see what you are up for.
- [25:48]
Nicole Phelps
Well, speaking of shoes, we should talk about Maximilian Davis Ferragamo show.
- [25:53]
Francesca Ragazzi
I was just thinking about that because he's also so elegant. I thought the show like you every single piece. I love that he brought back this classic elegance in the men's with the ties and the tailored pieces were very soft but sophisticated. And the silk, the chiffon, it always feels very, very chic.
- [26:20]
Nicole Phelps
It's interesting watching him. Right. Because he was plucked by Ferragamo as a very, very young designer, had not really even had that many fashion shows. And so we've really watched him grow up, I think, at Ferragamo, and as you say, find his confidence and find a design language. You know, I mean, I think you could argue that he really. He had, you know, sort of barely just defined his own design language. And then he's tasked with taking on this, you know, quite a legendary brand. And I think sometimes we don't sort of give designers credit for how. For how challenging that can be, especially.
- [26:57]
Francesca Ragazzi
When you come from another culture and from another country. It's very. You have to be in a domestic ecosystem for a long time before understanding what it is really. Being an Italian brand with such an heritage, with such an ecosystem, you need to study a lot. And that requires time. You know, it's a difficult task because this brand already come with such an intensity and history, and everyone has an opinion about.
- [27:28]
Nicole Phelps
Well, talking about an iconic Italian brand brand, we have to move on to Dolce and Gabbana.
- [27:34]
Francesca Ragazzi
Yes. I was waiting for this moment, Nicole. That Saturday was something. That Saturday was something.
- [27:42]
Nicole Phelps
So I guess the audience started figuring out that something special was going to happen when there were two Empty seats next to Naomi Campbell, right?
- [27:50]
Francesca Ragazzi
Exactly.
- [27:52]
Nicole Phelps
And the lights dimmed. And who walks in?
- [27:57]
Francesca Ragazzi
Mary.
- [27:59]
Nicole Phelps
In her Miranda Priestly outfit.
- [28:01]
Francesca Ragazzi
Oh, yeah. Not Meryl. Miranda arrived. It's very different. Not Meryl.
- [28:06]
Nicole Phelps
Yeah. And Stanley Tucci as Nigel.
- [28:08]
Francesca Ragazzi
Exactly.
- [28:09]
Nicole Phelps
And the new assistant, we think Simone Ashley is the new assistant, although the movie producers will not clarify what exactly her role is. So I guess there's a high potential that some of that footage that was captured at the Dolce and Gabbana show will be in the Devil Wears Prada when it comes out in 2026.
- [28:31]
Francesca Ragazzi
We will not know until the movie, but it looked really like a set for that scene to be taken. And how fascinating to be witnessing a real movie moment.
- [28:45]
Nicole Phelps
Yes. And I loved. I mean, we were right across the Runway, strategically placed, of course, because Meryl Streep's Miranda Priestly character is based on Anna Wintour, our longtime editor. And it was fun to watch Meryl doing the Miranda, you know, sort of attitude. Miranda attitude. Yes. And what did you think of the Dolce and Gabbana collection?
- [29:10]
Francesca Ragazzi
I didn't know if I should do my job and really look at the clothes and take videos and start thinking about the trend that could come out of this collection or if I should enjoy the movie scene, since I was also sitting next to Anna. So I was sort of of. I don't know if I did well either, or. But that was my question. What should I do? But no, in the end, I decided to focus to my job. And so I looked at the collection and clearly, now we know that for next summer, we all need one of these pajamas that were very, very, very cool. There was one message, very clear. Pyjama, embroidery, light. And I sort of missed from the show that twist that we have seen at Dolce recently. For example, when they last time they had the models finishing the show outside in the street. I think Stefan and Domenico are now so connected with the new generation that we sort of missed that moment. Close.
- [30:17]
Nicole Phelps
Yeah. I think the security was heightened, but.
- [30:19]
Francesca Ragazzi
Probably now that we are talking about it, that was like, the moment was the movie, but I missed it as a watcher there.
- [30:29]
Nicole Phelps
Oh, it's true what you say about the new generation. I mean, these are designers who have been in the business for decades and decades, but they really try to key into and pay attention to how young people are dressing now. And I did a preview with them, and Domenico Dolce said that the way the young people are dressing now, it's not, you know, it's not sort of precious and perfect. There's a real sort of casualness and he made the point, which I respect and like quite a bit. You know, it's time to end the reign of exercise clothes on the streets. I don't know what it's like in Milan, but in New York, it is like a plague of yoga clothes. Every girl, you know, out on the street is wearing her leggings and her exercise top and it's really gotta stop. So maybe, maybe pajamas are the solution.
- [31:25]
Francesca Ragazzi
I think he's totally right and it's fascinating. I think they really look at the Instagrams of this generation and what they do and try to express with their clothes. I love how they always watch.
- [31:38]
Nicole Phelps
Okay, one last debut. I want to dig into a little bit more, which is Louise Trotter at Bottega Veneda. Mathieu Blaise has left Bottega Veneda. He is off to Chanel. He has a big, big, big deb in a week and a half. And Louise came from Paris herself, where she had been working on Carvin. So what was your reaction to the show?
- [32:03]
Francesca Ragazzi
I liked that it was very made for women. You could see there was a pragmatic and essential element. I loved the intrecciato. I love the way she's looking at bags and in a very, like, complete way. But also, I mean, we all commented the show right together and I think she really made the point on a few elements, like the clogs. There are already elements that are only hers.
- [32:39]
Nicole Phelps
Yes, that's moving fast. And how cool were those tops and skirts made of recycled fiberglass?
- [32:45]
Francesca Ragazzi
Yeah, exactly. Also having a look at that, the sustainability aspect, I think it's gonna like you expect that from the legacy of Bottega Veneta.
- [32:58]
Nicole Phelps
And those felt truly incredible in the hand, like a very sort of cool sensation. So I think now we are going to close up. Is there anything you can tell us about the Chinamoda Club and how maybe you could bring it to New York? Some.
- [33:17]
Francesca Ragazzi
Why not? Let's think about it. Yeah. So during the shows, we presented a festival, a movie festival, to be closer and closer with our audience, inviting them all to come to see movies through the lens of fashion. And it was a great first edition. Of course, not every movie was full, but a lot of them were successful. And people went early in the morning and late at night. Yesterday I popped in at 11pm for Saturday night Fever and the room was full and it was a Saturday night. And of course, this festival was not all for the industry, but more for our readers. And they all went and we're already thinking about the next edition. And actually, we are also so happy that Louisa Jacobson, the daughter of Mary Streep, brought her mother one morning in incognito to see the documentary on Diane Vreeland to a little movie theater in Milan and paid their tickets to get in and watch the movie that they loved.
- [34:30]
Nicole Phelps
I wonder if there is a Diana Vreeland biopic in the offing. Well, Fran, it's always really good to talk to you. Thank you for coming onto the Run Through.
- [34:40]
Francesca Ragazzi
Thank you, Nicole.
- [34:42]
Nicole Phelps
Ciao, ciao.
- [34:55]
Chloe Mal
The Run through is produced by Chelsea Daniel, Alex DePalma and Stephanie Kariuki with help from Emily Elias. 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 Foreign.
- [35:21]
Nicole Phelps
Hi, it's Cho Minardi. If you're not on the Vogue app yet, what the hell are you doing?
- [35:26]
Francesca Ragazzi
You can follow along with me and.
- [35:28]
Nicole Phelps
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.
- [35:48]
Francesca Ragazzi
From PRX.