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- [00:01]
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.
- [00:30]
Nicole Phelps
This is the run Through. I'm Nicole Phelps. Today is the last day of our daily Paris Fashion Week coverage. And to close out the week, I'm here in the Paris Vogue offices with Vogue's fashion news director and run through regular, my friend Mark Holgate and Claire Thompson Genville, head of editorial content at Vogue France. Welcome back, Mark and Claire. We're very happy to have you here.
- [00:52]
Claire Thompson Genville
Bonjour.
- [00:53]
Nicole Phelps
Bonjour.
- [00:56]
Mark Holgate
So we're not gonna do this in French, aren't we?
- [00:58]
Nicole Phelps
Yes, let's do it in French. Make real, real fools of myself at least. This is one of those really busy periods for us as editors. We're coming off of New York, London, Milan, and now we are smack dab in the middle of Paris Fashion Week. How are you both holding up?
- [01:16]
Mark Holgate
Well, I did an abbreviated tour as this season, I did New York, and now I'm in Paris. I got here yesterday, so I sadly missed Dior and sadly missed alaia and sadly, Ms. Courregesh. But I did see some things, but, yes, missed a few things.
- [01:33]
Nicole Phelps
I'm sure you watched it all very closely online.
- [01:35]
Mark Holgate
I looked at Vogue Runway.
- [01:36]
Nicole Phelps
Thank you.
- [01:37]
Claire Thompson Genville
I'm doing well. This is my home city, so I'm enjoying everyone being in town. Loved Tom Ford last night. Just feeling the good energy. The sun's out.
- [01:49]
Mark Holgate
The weather was incredible.
- [01:50]
Claire Thompson Genville
The weather's amazing.
- [01:50]
Nicole Phelps
It's spring here in Paris. All you New Yorkers, we're here to make you feel jealous about that. But we are gonna backtrack to talk about Milan a little bit. It is a city that is used to Fashion Week disruptions, but there was nothing quite like Dolce and Gabbana's outdoor show. I heard you talking about Dolce and Gabbana earlier this week, Mark, and I think you quite liked the low key vibe of the car and bedazzled jeans.
- [02:20]
Mark Holgate
Well, it's my uniform. No, I mean, I do like when you know a designer or designers in this case who are known for doing one thing, kind of shake it up a bit and do something different and even staging that show, you know, taking it out of that theater, taking it out into that street, which any of us who've been to Milan knows. It's like a death trap because you've got those trams kind of trundling past at high speed. And just the whole vibe, I think, of just kind of getting out of the space, be it the real space or your own particular kind of headspace, to me, made it kind of fun to look at.
- [02:58]
Nicole Phelps
And, Claire, why don't we talk about Prada? Because that was something that was on your mind earlier while we were prepping for this. A real effort on muprada. And Raf Simmons part to make awkward shapes, make ugly clothes.
- [03:14]
Claire Thompson Genville
I like this idea of what is feminine beauty, you know, what is perfection, female perfection. And also, yeah, I just love the hair. I just love the. It's always so intelligent and thought provoking, desirable. It's like I always question. I'm like, could I wear that? Could I not? Would I wear that? But I just always.
- [03:38]
Nicole Phelps
I can't picture you in a baggy house dress. I have to say no.
- [03:41]
Claire Thompson Genville
But I could definitely do the nothing hair. And, you know, maybe I could try one of those dresses, I don't know, with combat boots. Yeah, something like that. But, yeah, no, it's just always thought provoking, isn't it? And sort of exciting.
- [03:57]
Nicole Phelps
Yeah. Smart. Smart to ask us to talk about femininity right now, because, you know, it was right around the time of the Oscars. It was a few days before the Oscars. And that's a moment where we see, you know, women in their shining, perfected, airbrushed, filtered glory. Right. And then for them to sort of poke holes in this idea and say, actually, you don't have to wear a corset. You don't have to wear a bra. And.
- [04:23]
Mark Holgate
Well, yeah, I mean, it's. It's. I mean, we're so used to seeing that kind of idea of shell act perfection, you know, sprayed and tanned and glossed and jeweled and everything. And this set of Oscars, it felt. Well, this Oscar season, it felt even kind of more extreme in a way. It almost felt like an AI version of it to some degree. Right. It was kind of staggering. And, you know, you can read into that what you like. But, I mean, I love Prada for that reason, too. For all the reasons that Claire said. I mean, I think just that sense of it felt very mutual, you know, the kind of idea of going back to the tropes of the 50s and 60s. I always love that kind of the ladylike pomp, you know, the Kind of amazing coats and tailoring that she and. She and Raph always do season after season. That kind of incredible manipulation of the fur around the shoulders, the fake fur around the shoulders, and the awkwardness of it. You know, I'm always there for a celebration of awkwardness. It speaks to me. So I thought it was very just again, because I wasn't there. But even just, you know, it's furiously scrolling through it on the app, on our app, to, you know, almost the minute the show was finished, just so I could see. Because it does feel there's a kind of urgency, I think, around what she and Raph are doing at Prada. You know, it kind of feels like it's. There's a kind of interesting commentary on our times.
- [05:47]
Nicole Phelps
One thing that I find interesting in fashion is how cyclical it is. And once again, at 91, it's Mr. Armani's moment. @ least it is for me. I thought he had a really beautiful, beautiful show. And I love the setup. We were on these sort of banquettes, the same as he had put into place in the New York show he did last fall. And so a sense of relaxation. It's the end of the season, and he sort of reminded us why he has been, you know, the maestro for four decades.
- [06:24]
Mark Holgate
I mean, just to be able to have those surprises, of seeing him think about that very kind of beautiful, soft, coppery, gilded kind of color palette. The reimagining season after season of the Armani suit, which I understand, Nicole, you and your colleague from Viagrama, Tiziana Cardini, are thinking of buying and sharing time sharing. I think time sharing was a frit. Yes, but I loved it, and I loved the idea that, you know, he's always someone who's had a flat shoe and had a certain sense of a kind of quite grounded, despite the kind of glamour and sophistication of the clothes. But it's interesting also, I think, just that idea, you're looking at someone who really knows how to make clothes, and, you know, he's a little like a liar in that sense. You know, there's a constancy to the work, and sometimes, you know, you look at it through fresh eyes, and sometimes you're maybe more familiar with what he's doing. But it felt kind of renewed to me in some way.
- [07:26]
Claire Thompson Genville
Yeah, I agree. I love it. I feel like Milan. It was a really good season for Milan. Like, there were so many, you know, it was sort of like this higher female energy, and just like so many things that. Or silhouettes that were sort of empowering for women. And I do think that Armani, you know, he. You know, he's someone who loves women, and you can feel that, obviously. But sometimes maybe we forget he's been around for so long that we forget that he's so good dressing as. And I love it when there's a show like that. It's like, okay, voila. We're just going to, you know, just remind everybody.
- [08:03]
Mark Holgate
Let me show you how it's done.
- [08:04]
Claire Thompson Genville
Voila. Exactly. And the color palettes and, yeah, there's a lot of pieces that. That stood out for me. So that was a great. For me, that was a highlight, definitely, that show.
- [08:14]
Mark Holgate
Yeah. I would love to have seen Marnie go from Armani to Marnie. I have to say, that was one show that I would love to have seen.
- [08:21]
Nicole Phelps
Yes. On the subject of color palettes, Francesco Risso really had some of the most sensational colors of the season at Marni. This acid yellow and sort of a salmony pink and a really bright, vivid turquoise. And, you know, sometimes putting them all together in these sort of clingy satin, satin dresses. A little bit 1930s ish, maybe, in sensibility, and so artistic. And he was. Some of these pieces were handed painted by Francesco himself and two artists friends of his. And it was a real celebration of creativity in an industry. I think Sarah Mower put it really incredibly a desertification of creativity in high luxury, something like that. There is a sense sometimes that fashion starts to look the same wherever you go, but definitely not at his Marnie.
- [09:22]
Mark Holgate
Well, I like that Francesco also really allies emotion to creativity. Cause to me, the two are so closely linked. And when you think about that tour he did, where he was showing in Japan, and he was showing in New York, in Brooklyn, under the Brooklyn Bridge, which is an incredible show. Back to Milan. I think he showed in Paris one season as well. And you just feel that he's someone who kind of wears his heart and his creativity on his sleeve and his hemline and his trousers and his tailor. It's always evident. It's always there. And I like that it's kind of naked in a way. I think, you know, there's nothing. You know, we talk about the kind of control and the. I mean, the designer's always trying to present such a kind of perfect image of themselves and such a perfect representation. And with him, it's a little bit. And, I mean, it's in a good way, messy, and I kind of like that.
- [10:15]
Nicole Phelps
Okay, we're going to take a quick break. Our thoughts on London and Paris. When we are back.
- [10:31]
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.
- [11:10]
Nicole Phelps
All right, we're back and we're going to check in quickly about London. Were there any highlights for either of you from London? I think we were all watching remotely.
- [11:22]
Claire Thompson Genville
We were watching remotely.
- [11:23]
Mark Holgate
We were all from our different parts of the world. Yeah.
- [11:25]
Claire Thompson Genville
I mean, I think we were all sort of anticipating Burberry somehow as well.
- [11:30]
Nicole Phelps
Well, it's the last show of the week, right?
- [11:31]
Claire Thompson Genville
It's the last show of the week. Yeah. I love a great boot. I'm a boot girl. I love boots, love coats. I love a fierce country sort of silhouette layering. I was into it. I was really into it, actually. I have to say, I thought you.
- [11:49]
Mark Holgate
Did a good job. I thought it looked really great. I loved the casting. I thought that was kind of amazing.
- [11:56]
Nicole Phelps
The he in question being Daniel Lee.
- [11:58]
Mark Holgate
That's. Yes, yes. Sorry. Yes. Sorry, Daniel. I also enjoyed Odom's show. I mean, I thought it felt very personal and emotional. You know, he used images by the painter Cade Donhi, which I thought was, you know, something that felt kind of very special and unique. I liked all the kind of. Those kind of quite exaggerated volumes. And I was kind of interested to see Dilara Findeclou that mix again of kind of emotion fueled creativity. A kind of certain anger and a certain, you know, challenging of the world I thought was really fantastic. And all those kind of slightly medieval meets, a pair of battered Converse kind of looks with the, you know, the kind of. All the work that went into them, the leather and the sense of wear and tear, but also kind of incredible construction. And she's someone who, you know, I know she's been around for a while, but somehow that happens too. Someone just seems to capture the moment, right? And then you're like, oh, that feels really reflective of our times. And you really see their work and their creativity.
- [13:05]
Nicole Phelps
Yeah. I thought that show was mega. I feel those sexy pieces, the celebrities, especially the rock musicians, just gonna be lining up to wear Those pieces and.
- [13:18]
Mark Holgate
Lara Stone back in the Runway.
- [13:20]
Nicole Phelps
Yes. Yeah, we love a Lara Stone sighting. So we have segued very naturally into Paris. And so now let's talk about yesterday, because there was not one, but two major debuts. First, it was Julian Klausner's turn at Dries Van Noten, and later in the day, we saw Heider Ackerman's Tom Ford. So let's talk about Julian first.
- [13:45]
Mark Holgate
Well, I was really, I have to say, I sat there and was sitting kind of opposite Dries Van Noten, who was in the front row, watching the front row. I mean, bad enough that someone has to make their debut, but to make their debut with the designer whose house the name bears, sitting front row and also someone that's your former boss. I can't even begin to imagine the pressure on Julian. But I thought he did a terrific job. I thought it was a really good start. I mean, it's. You know, I thought that he caught the kind of idea of, you know, I'm sorry to sound cliched, but, you know, of a kind of an eclectic wardrobe put together in a kind of very personal way. Beautiful kind of textiles. You know, the idea of the embellishment and the hand work, the slightly awkward 40s, 50s shoe. Clearly awkward as my favorite thing about any aspect of fashion. So I thought he did a good job, and I think he was right to keep it small and intimate. You know, this idea of just showing in a kind of beautiful gilded corridor at the Opera. Garnier or Pali. Garnier, Sorry, I think it's actually called. So I thought, good for him. It's a good start.
- [15:00]
Nicole Phelps
Yeah. I thought that he had the hardest job of the three big debuts this season because as opposed to Heider Ackerman, who is following, you know, a sort of short interim designer, and as opposed to Sarah Burton at Givenchy, who is going back to the beginning and looking at Hubert de Givenchy's very first collection from 70 some years ago. Julian, as you say, is following a beloved designer. Somebody who, I mean, all of our friends in the industry wear it, our fellow editors, you know, at Vogue. And so it's a hard. It's a hard job to take over because the people who are looking, I think, have personal investment in it. And I, too, thought that he totally understands Dries Van Noten's codes. And at the same time, he was pretty courageous, I think, to step away from them. You know, the draping didn't really feel signature dries to me, but I like the fact that he was confident enough to try it. And, you know, I went to see him the day before the show at the showroom where he was doing fittings with models, and he was cool as a cucumber. He is, you know, great. You know, he just is very well spoken, and he had a lot to say about his collection, which I think is a, you know, will help him as he continues there.
- [16:28]
Mark Holgate
Well, I think what's interesting about both those debuts is how do you take, you know, the signatures of designers, you know, which are so intimate and personal to them, and bring enough of yourself, but without throwing up the baby with the bathwater, where, you know, it looks unrecognizable. And it's a hard thing to do, and it's a kind of tricky balancing act. But I think both Heder Ackermann at Tom Ford and Julian Klausner at Dries Van Noten yesterday did both of them did a very good job.
- [16:59]
Nicole Phelps
Claire, you love Tom Ford. You love Heider's Tom Ford.
- [17:02]
Claire Thompson Genville
Yeah, I really did.
- [17:03]
Nicole Phelps
Tell me why.
- [17:05]
Claire Thompson Genville
It's just. I mean, you keep going on about wearability. It sounds very, like, basic, but it's true. Like, I am. I just identified with that silhouette. Very evocative of some, you know, Tom Ford sort of legacy. But at the same time, just, I love these strong women. I love these very, like, flattering silhouettes, like, quite bold. I loved the hair. I spent, like, a good few minutes trying to figure out who actually had the shaved at the back and whose was, like, tucked under. But no, I love the leather. I just. I want Heider to win. You know, I'm just in this phase. And I was going to say that about Julian as well. I'm sort of in this phase now where there's been so many musical chairs, and now I think that there's this kind of, we want people to win and we want them to do well, and let's be, like, supportive and, like, when it's a good collection or, you know, it's hard to step into those shoes, you know, and we are like human beings, but we are. But, you know, they have enough experience within the industry to understand, like, the memo. And I feel like, you know, Haider, those are big shoes that he's stepping into. And especially the context of, you know, just previously, I think he was really Chicago and cool and gave us what we wanted with some surprises. I was. Yeah, I was really happy.
- [18:27]
Mark Holgate
I would so agree with that. I mean, I think that he. I love the way that Hader nodded to the kind of. So many aspects of Tom's work at Gucci, at St. Laurent, obviously at his own label. There were things I remember seeing from previous collections at various houses that Tom has spearheaded, but it never felt like it was the greatest hits. You know, it felt like it being kind of imagined and re envisioned by Heder Ackermann. And I just thought the tailoring, I mean, I think that's the other thing as well. To go back to Armani and to talk about Azzedine Alai, to see things beautifully made, beautifully rendered. And, you know, we're all, I think, kind of questioning the kind of disposability of all fashion now. Doesn't matter where it comes from. So to see something that actually looked like it would stick around and last, all the beautiful leather you were talking about Clare, I thought was fantastic too. So I thought Heder again had a tough job. You know, Tom sitting there, front row, and he came out and bounded down the Runway and gave him a hug. And it was, I think, a really, again, kind of very emotional moment.
- [19:31]
Nicole Phelps
Well, on the subject of quality, we should talk about Sarah Burton, who is debuting tomorrow as Givenchy. We all know Sarah very well from her McQueen days, and I at least loved her, her McQueen. So are you excited for Givenchy? What are you expecting from Sarah?
- [19:49]
Claire Thompson Genville
What are we expecting? Well, first of all, lovely that a woman is a creative director of Amazon, you know, firstly, and I am excited. I'm sure it's going to be effortlessly elegant, you know, tailoring, craftsmanship, but, you know, she's following obviously, a completely different vision, which I always like as well. So it's kind of a bit of a reset. I think it's an exciting time. I just, I love. Given she's the brand anyway, I sort of like, always sort of connected somehow with each designer and found something I liked about it. So I'm. Yeah, I'm really excited for her. What are you excited about?
- [20:29]
Nicole Phelps
Oh, I'm excited, too. I've always been crazy for her tailoring at McQueen. So I think it's great she's back on the scene. I'm confident she'll show beautiful tailoring here and, you know, she'll make all of the women she's dressed like Cate Blanchett and Rooney Mara. Very happy with those, I bet.
- [20:47]
Mark Holgate
Yeah, it was interesting. I did a piece on her for our March issue, and I know you just interviewed her more recently, Nicole and I loved the kind of sense of confidence and humbleness, and I think she really has that in equal measure. And to me, that's such a great thing because she's come in and she's looked at this house and she's gone right back to the very beginning. She went back to the very first collection, which I think was maybe 1952, I think. And when she was showing me the lookbook from that very first collection, I mean, it was amazing how modern a lot of it looked. And I don't know, again, it's just that thing. I don't want to keep sounding like a boring, stuck record who keeps repeating himself, but it's someone who really knows how to make clothes. It's not just about image or branding or causing some kind of front row free song. I mean, I'm sure she'll have all of those things too, as she stays at the house, but just someone who can really make clothes. And yes, Claire, absolutely. How great to have a woman leading a house. It's super important.
- [21:57]
Nicole Phelps
We're going to take one more quick break. Back in a minute. So we are about halfway through Paris with five more big days to come. But the first few days, I'm going to mention something that stood out for me yesterday, which was Nicolas Di Felice's Carez show with the spectacular reverse gravity, anti gravity confetti party and his really great clothes, which were sort of similarly constructed from these ribbons of fabric that he twisted and turned around the body in sort of minimal and very, very cool and young, young ways. I think he's a big talent. But what about you two? Is there anything that you liked?
- [22:54]
Claire Thompson Genville
I liked. I was euphoric, yes. Felt like I would do a rave a day rave. That was. It was such a cool idea. The music and the ticket. I don't know how to describe it, Confetti. But he is someone who really knows how to conjure up an energy, a sort of. It's almost chemical, you know. And what I love as well is like when the girls, you know, that the girls feel cool and the girls feel good in what they're wearing and that really, like transmits. I have to say that I like that there were more clothes this time because it's not easy just to wear like a tiny Bondo and I want to wear those clothes but. Or even for styling, you know, so it's nice that there's a few more pieces. So. Yeah, that was a high. I really enjoyed that, I have to say.
- [23:43]
Nicole Phelps
What else have you liked this week?
- [23:45]
Claire Thompson Genville
Well, I wanted to talk about the row. I was sitting. I was sitting briefly on the floor, which I wasn't unhappy about, but I quickly was told that I should sit on the sofa. But no, that was interesting. The format was interesting, but I loved the. I mean, I keep going on about the hair this season, but the hair was cool. And I spoke to someone, I don't know what her name is, is from the Financial Times yesterday, who sort of shuffled up to me outside Tom Ford and asked me about the row. And I realized that I love matching thick woolly tights with a coat. It must hark back to me in my borderline.
- [24:20]
Mark Holgate
Your Scottishness is coming up.
- [24:21]
Claire Thompson Genville
My Scottishness.
- [24:22]
Mark Holgate
I respond, that too, yes.
- [24:23]
Claire Thompson Genville
Lava Mart. Matching tight boot tights and coat situation. And the fact that there were no shoes. Yeah, that was quite an interesting show. What did you think?
- [24:36]
Mark Holgate
Well, I had the same impulse. I mean, it's one of those things as well, where you said a show from Mary Kate and Ashley Olsen, and, you know, people are looking at it both from a kind of professional capacity and also really looking at it through the lens of, oh, my God, I would love to have that. Oh, my God, I would love to own that. And, yeah, I was a little perplexed by the no shoes. I just kept thinking, did they not turn up? Did they not like them? Did they decide they just wanted to? And I kept just thinking maybe they're just trying to emphasize some idea of that idea of, like, you kick your shoes off after your day's done. Though I guess maybe at that point you would also put the handbag down, which they hadn't done. But for me, the things I loved. Well, first of all, my favorite celebrity sighting of the week was the combination of Jeff Koons and Brigitte Macron, Estella McCartney, which was kind of amazing to see. And I also love this young Belgian designer, Julie Keggles, who has done her third collection. She showed in a tiny theatre in the 17th. She's not on the official calendar. And I like the wit and the humor of her clothes and the slightly kind of sly subversiveness of them. She also played into this whole idea idea a bit like Stella, whose show was on the same day, this idea of corporate wear and office wear. I guess we're all thinking about the back to the office mandate and going back in. But she allied it with this book that she'd found in a flea market in la, which was all about how you can kind of decorate for success from 1980. So there's a lot of references to kind of furniture and to kind of idea of kind of corporate wear and branding, but done in such a kind of fun way. I have to say, I thought the show was Great.
- [26:26]
Nicole Phelps
We were all at Chloe this morning. It was Cimina Kamali's third big Chloe show. What is your reaction to that show?
- [26:34]
Claire Thompson Genville
Yay.
- [26:35]
Nicole Phelps
Yay.
- [26:36]
Claire Thompson Genville
No, it was cool. I'm just really happy about the season. I can't explain it to you. It's like, you know, when there's seasons like that, you're like, yes, like good energy, great clothes. Wow. Great clothes. I Love the whole Y2K bag position within the crook of the arm and this sort of like, I love this kind of re editions, you know, there seems to be a lot of like re editions of bags and somehow it's like a play on vintage, a play on the brand identity as well, but also giving us what we want. You know, the hits. I like very much this, you know, boho. I was looking at the girls, the Chloe girls in the front row and I don't know, it just really felt like a breath of fresh air. Fresh air. And it felt like, you know, there's some nice surprises and all the charms and fake fur. I was, I was honest. I was, I was into it. I left like with plenty of ideas.
- [27:33]
Mark Holgate
It put you in a good mood, I have to say. I was watching it and I thought it feels like Shimina's having fun doing this. She's enjoying it. She's loving it. I thought there was some really terrific clothes in there. I liked all the kind of lace evening at the end. I loved the jackets. I loved those lanky kind of stovepipe pants which made me think of late 90s Chloe. I thought it was really good. And also all those beautiful kind of sheer bias cut skirts with a little jacket and the flat shoes. The casting was great. It was good. I think she did a really great job.
- [28:03]
Claire Thompson Genville
Iniko is back.
- [28:06]
Nicole Phelps
What are you excited to see? As I said, we have five days more. What are the shows you're looking forward to? I'll give you one. I am very curious to see Valentino. It'll be Alessandra Michele's second ready to wear collection. And the first one was so evocative with that set with the cracked mirror floor and the furniture draped in the dust covers. And I wonder where his imagination will take us next.
- [28:35]
Claire Thompson Genville
Were you at the couture?
- [28:36]
Nicole Phelps
No, that was the Ready to wear.
- [28:38]
Claire Thompson Genville
But there was a couture show since then?
- [28:40]
Nicole Phelps
Yes, there was a couture show since.
- [28:41]
Claire Thompson Genville
No, but I mean just in terms.
- [28:42]
Nicole Phelps
Of the spectacle, the monumentalness of that show.
- [28:46]
Claire Thompson Genville
Yeah. So I'm kind of like, wow, where's this gonna go? Yeah, I agree with you. I'M excited for that as well.
- [28:53]
Mark Holgate
Yeah. I mean, it always feels emotional and experiential with him. So, yeah, I'm kind of interested to see what he does too. I haven't been to a Balenciaga show or a Louis Vuitton show in ages. And the way that my Paris schedules worked, I often leave before I see those shows. So I'm excited to see both of those.
- [29:11]
Nicole Phelps
What about you, Claire?
- [29:12]
Claire Thompson Genville
Yeah, Balenciaga, definitely Saint Laurent.
- [29:15]
Mark Holgate
Yeah, Saint Laurent.
- [29:17]
Claire Thompson Genville
Just love Saint Laurent. Not gonna lie, you know, the glamour and it's always so impeccable, isn't it? So it's so like. I just love that silhouette. And they're very good at casting. I don't know. I'm excited and surprised every time. What else? Vuitton. Vuitton have changed location, but I can't figure out history.
- [29:38]
Mark Holgate
I don't think any.
- [29:39]
Nicole Phelps
I don't know, I think they're keeping it secret from us.
- [29:40]
Claire Thompson Genville
I don't want to get the bus, apparently, which I'm not happy about.
- [29:45]
Nicole Phelps
Say what?
- [29:47]
Claire Thompson Genville
We're all meeting outside the cafe, getting the bus.
- [29:50]
Mark Holgate
I'm fine to take the bus. I just want to know, is there a bus back? Are we hitchhiking back? I think about that when you used to do the shows out at the Louis Vuitton foundation and I was like, I'd hate to get stranded here.
- [30:07]
Nicole Phelps
The traffic has been extraordinary. Claire, how do you deal with Paris traffic on a day to day basis?
- [30:14]
Claire Thompson Genville
She's going into my way through life. No, I have got it down to a fine art now. I take my bike.
- [30:21]
Nicole Phelps
I hear a lot of people are, you know, riding bikes around town, take.
- [30:25]
Claire Thompson Genville
My bike and then with the kids, I take them to school in metro. I leave my bike here. I very, very rarely drive myself and you know, Uber and taxis here, you know, if you know Paris, you know, it's just like a sort of not a human particularly pleasant experience. Everyone's stressed and transferring their energy. So I like to keep my own environment and get on my bike.
- [30:49]
Nicole Phelps
Yeah, yeah, yeah. So to conclude, what would you say are some of the themes and ideas that are percolating up this season? I mean, we've talked a lot about or I don't know if we have. I've been talking elsewhere about fur and fake fur and shearling and how much of that there is. And it's a real phenomenon. It's a very, you know, sort of a 180 from the anti fur stance we had, you know, five years ago or so. But other than that What. What are some themes that are coming up for you?
- [31:25]
Claire Thompson Genville
I was looking at Milan even, and I'm just like, I'm really into this woman who's dressed up and she's confident, and it's like. Like a bigger silhouette, a flattering silhouette. It feels like more real life, but sort of. I keep saying this higher female energy, but I really do feel that, you know, it's like the long, slinky dresses and the big coat cinched and shoulders and fake fur and long legs and big into a bare leg and a little fake fur coat just feels like sexy cool. For me, the energy is really on point.
- [32:02]
Mark Holgate
Yeah, it's been interesting. It's just to see kind of all these tropes of kind of quote, unquote glamour of saying Nicole, fake fur and cheerleading maybe perhaps seen as less glamorous. But that's been used in very glamorous ways this season, quote, unquote glamorous ways. Also, all of the kind of the sparkle and the shine, for example, that we just saw at Rabanne with Julian Di Sarno, which I thought was a really terrific collection. And to go to your point, Claire, about Saint Laurent, it also feels that that is something that Anthony Vaccarella has also been exploring for some time. This idea of things just, like, more effort into the clothes, more effort into kind of making just things feel kind of really kind of special. And I think also just trying to make more of a case for some kind of emotional connection to fashion when, you know, I think we can all be a little bit just exhausted from everything that's going on. Right. So it's great to hear just being so excited about it, Claire, because we want to be excited. Right. We want to be kind of engaged and energized and inspired.
- [33:05]
Claire Thompson Genville
Because I think that sometimes we forget that the reality of things is if you look at the kind of climate of fashion and selling and, you know, matches or even, you know, in store and sales, because we're all bombarded with figures and dismal predictions and things like that. It's always, to me, promising when you connect with something that is not a million miles away with the silhouette that you want to wear. And I think ultimately, you know, times change, and there are different phases of life. There's phases of, you know, creatively where you want to sort of project and be weird and abstract. And I think that we're all in a more, you know, people are looking at how much they're spending or not, but it's much more about. Yeah, like, kind of Investment pieces or digging out what silhouettes you already have, what coat you already have, and how you can wear and interpret, you know, the looks on the Runway. I just think there's something very. I can imagine the young girls who are like, reading Vogue and kind of looking at that and looking at their mom's pieces or theirs pieces. Yeah, I just. I felt that.
- [34:09]
Nicole Phelps
I'm glad you brought that up because this week Vogue announced its vintage sale. So online today, you can go and sign up to shop this vintage sale that Vogue Us is putting on. And there's going to be some pretty epic pieces mixed in with pieces from Vogue editors like Mark Colgate and myself.
- [34:32]
Mark Holgate
I haven't. I've got to figure out what I'm going to.
- [34:34]
Claire Thompson Genville
I will.
- [34:35]
Nicole Phelps
If you're willing to sell one of your modulus sweaters, I'll buy it.
- [34:38]
Mark Holgate
Okay, done. I'll put it in the sale. I've got about a million of them.
- [34:45]
Nicole Phelps
Claire, Mark, thank you so much for joining me today.
- [34:48]
Mark Holgate
Thank you. Thank you.
- [34:49]
Claire Thompson Genville
Thanks.
- [34:51]
Nicole Phelps
That's it for the Run Through. See you Tuesday. The Run through is produced by Chelsea Daniel, Alex DePalma and Joanna Solotaro. It's engineered by Jake Loomis and Luke Mosley and mixed by Mike Kutchman. Stephanie Karaoke is our executive producer and Chris Bannon is Conde Nast's head of Global audio.
- [35:27]
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, these great Dior boots. And I'm combining them all together. Sometimes trend forecasting doesn't require something that's gonna 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.
- [36:26]
Claire Thompson Genville
From PRX.