← The Run-Through with Vogue
The Run-Through with Vogue
Schiaparelli’s Daniel Roseberry on Pop Divas, “Mice Feeding,” and Winning at the CFDA Awards
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- [00:01]
Sponsor Intuit
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- [00:41]
Nicole Phelps
This is the run through. I'm Nicole Phelps. Today on the show, I'm joined by Daniel Roseberry, the creative director of Schiaparelli. Daniel is such a thoughtful designer and talking with him really gave me an incredible insight into how he's turned the brand Schiaparelli from a sleeping beauty into a globally recognized name with tons and tons of social media credit. From the pop songs that keep them going as he worked on his Spring 2025 ready to wear collection to preparing to receive CFDA's International Designer of the Year award, he left nothing off the table. And so here's my conversation with Daniel Roseberry. Daniel, thank you very much for joining us on the run through podcast.
- [01:23]
Daniel Roseberry
I'm very happy to be here. Thank you for having me.
- [01:26]
Nicole Phelps
Congratulations on receiving the International Designer of the Year award from the CFDA Monday. It'll be a big night for you.
- [01:34]
Daniel Roseberry
It will be a big night. And I think it's one of those things that doesn't really make sense until you're on stage and it's all happening. And I, yeah, I feel it's surreal.
- [01:45]
Nicole Phelps
So you have been at Schiaparelli now for about five years, and in that time you have turned what is a little brand by Paris standards into a very big brand with a lot of global resonance with major social media cred. I want to know how it feels to come home and receive this award.
- [02:06]
Daniel Roseberry
You're going to make me cry. I, I feel, yeah, I think I feel I'm most proud of that, actually. The fact that not only was this a tiny brand, it was really a sleeping brand, you know, like they called it a sleeping beauty when I was interviewing for the role. And with a very small fraction of the resources that my contemporaries have had, we've really tried to punch above our weight and compete on every level. And I'm just so proud of what SCAP really has become and what it means to people today. So, yeah, I'm, you know, leaving New York was such a Sacrifice. And I. There was no guarantee it was gonna go well, so I'm really proud and just deeply grateful.
- [03:02]
Nicole Phelps
Well, I have to say, from the very first season when I went and did a preview with a few other journalists, I remember before the show, you walked us through some of your illustrations and you spoke very eloquently about the direction you were headed. I have to say, I knew you were a star from the moment you opened your mouth. And here we are five years later. Can you talk a little bit about your day to day as the creative director at Schiaparelli? You've just moved into a new, bigger space. Things are going well for the business. But how does the day start? What's it filled with? How does it end?
- [03:41]
Daniel Roseberry
I think the most commonly used phrase that I utter is back to back. You know, when it. Oh, how was your day? Back to back? It was back to back. Meetings, fittings, reviews, launches, interviews. I mean, I think that that is one of the things that has helped define my work here is the fact that I am so hands on. You hear stories of other creative directors who do not work directly with their team, or you're not supposed to look at them in an elevator, or there's all these stories which are about elevating the creative director to some sort of mythological status. And I just am so not like that. My team. So I really, really value that one on one connection. So to answer your question, all of my day is spent in meetings, reviews, or fittings, period.
- [04:36]
Nicole Phelps
So back to back. Let's go back a month to the Ready to Wear show that we saw in Paris. I saw quite an American collection and maybe even a Texan collection in the. In sort of the exaggerated gestures of the, you know, the very accent, nipped waists and the hips, the flared collars, the denim. But I wonder if you could tell us a little bit about, if you agree with me and what you were trying to achieve with spring 2025, you being Texan, I should clarify. I thought it looked a little Texan because I know you as a man from Texas.
- [05:18]
Daniel Roseberry
Yeah. I think that the couture collections are so deeply personal. Right. They. They are by nature, in a way, autobiographical, because they're. So there's a story to each look and you're. You're in it so much. And I think that what I really want to do is charge the Ready to Wear to be as powerful as the couture in a different way. And I think that that is only going to happen by bringing more of myself to those pieces. So that's what defines it, you know, differentiates it from being just product to great fashion. And, you know, the denim, specifically, like you brought up, the denim has been such a. It was what I was wearing before I was hired here. It was what I was wearing when I presented my. My job or my portfolio. And it's what I've maintained as a uniform. And there's something really, there's some kismet that happens between merging the. The American iconography and recontextualizing it in this very unreachable, unattainable place, Vendome, Parisian gilded world. That feels very true to me as a person as well, and true to my story here. And to bring it back to Elza, as an Italian woman who had founded her business in Paris, she also benefited from this outsider's perspective. And I think it's. It makes sense why her biggest clientele during her time were American women. I mean, so much of our archives are held in the Philadelphia Museum and at the Met because they were donated by women who are avid collectors of her world and of her work. So some of our best selling pieces from the couture and the ready to wear are the ones that play most directly between my personal isms and the recontextualization of those into the French tradition.
- [07:41]
Nicole Phelps
I'm looking at you now on this zoom screen. You have two pieces of denim on. At least I can. I can see right, you're. You've got a, like a work jacket, a chambray shirt. You're in your uniform.
- [07:53]
Daniel Roseberry
I've got my jeans on too. And yeah, I had a portrait done this morning. And so I really. This is, this is me. And it's also a way of me maintaining, like, you know, when I go home, when I enter my apartment, I have this mirror right in front of the door. I call it the love mirror. And it's filled with photos of all of my nearest and dearest people back home. And it's my way of keeping my feet on the ground. And a lot of friends were joking with me when I was hired, and once SKEP really started to really lift off and they were joking with me, like, oh, soon you're going to be one of those other, you know, a creative director with like, you know, a frozen face who throws things at people. And, you know, it was this kind of archetype of a creative director. And recently one of them came to me and apologized because they were like, it was a joke, but it's so not the reality. You're exactly the Same. And I think these little gestures of seeing the faces of people I love back home that I don't get to see very much anymore, but also just the simple gesture of putting on the same clothes I owned before I was hired. You know, it's one of those intangible reminders that is so dear to me.
- [09:22]
Nicole Phelps
Well, let's talk about Americanisms. You spent many years at Thom Browne, and you really came up at Thom Browne. You rose to design director there, right?
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Daniel Roseberry
Yeah.
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Nicole Phelps
Right. Yeah. Do you pay attention to American fashion? Like, what's going on in. On the New York scene? And I'm curious if you do, what you think of it.
- [09:44]
Daniel Roseberry
I do keep. I kind of keep tabs on a little bit of it, and I think it's. I think it's fascinating what's happening. I mean, I was kind of a student at FIT during the heyday of New York Fashion Week, Right. And when I started at Thom Browne, it was when Tom and Kimmel and, I mean, there were incredible. There was this incredible momentum behind menswear at New York Fashion Week as well. And I think what really defined that. That's different than now, is that there was a customer who was buying American designer luxury. And so that customer, I think, has become. Has turned towards European mega brands. And I think that this is just my hot take. I think that New York fashion is evolving accordingly and engaging with a different kind of clientele, that it's less ladies who lunch. Right. And it's more people who are creating culture. And I like the rawness of it. I'm tired of hearing all the hand wringing about what is New York fashion. I think you also said something about this, like, let's appreciate New York Fashion Week for what it is, but it definitely feels like something that is not fully formed. But I like that about it. I mean, on the flip side, you have Paris Fashion Week, which is dominated by Titanic's of mass luxury, which presents a whole different kind of hand wringing. So, no, I'm really into it. I think it's great.
- [11:37]
Nicole Phelps
The Runway team definitely feels that, you know, or has gotten behind the new generation of raw talents, I guess you would say. And, yeah, there's nothing broken about New York Fashion Week. It's just evolving and changing and, you know, meeting the moment and meeting the new generation that's turned on by fashion.
- [11:59]
Daniel Roseberry
I think the client is the big thing for me. It's like, where. Where is that client? And can we bring that. Can you. Can New York. Can American fashion bring that client back to American? This concept of American luxury. Because that is what. That's what changed in my mind, in my opinion.
- [12:20]
Nicole Phelps
Let's talk about the Schiaparelli client who is very devoted.
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Daniel Roseberry
Yes.
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Nicole Phelps
I believe you said last season that they don't buy Schiaparelli, they collect Schiaparelli or something like that.
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Daniel Roseberry
Why do you think Linda Fargo told that. Said that to me?
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Nicole Phelps
Yes. Linda Fargo of Bergdorf Goodman.
- [12:36]
Daniel Roseberry
Yes.
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Nicole Phelps
What does that mean to you? Why do you think you are inspiring such devotion?
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Daniel Roseberry
I think that it's because we do not make fashion according to arrange, plan, and a marketing calendar every season. We. Our intention is to surprise, thrill, and delight the client. And I think that as other houses, just putting it into the context as. As other houses have become, this concept of what I said was Zara for rich people, which is what it feels like. Those women have. They have all those pieces, and their friends have all those pieces, and there's a ubiquity to it all, and it just doesn't feel aspirational anymore, in my opinion. And so what the. The beauty of SCAP is that we have been able to come in as the alternative, the antithesis to this concept of mass luxury. And you see it from the garment from the inside out. Every button is something that could be its own piece of jewelry. Right. And we. We don't do huge collections, but each piece is loaded and imbued with. With creativity.
- [14:01]
Nicole Phelps
Well, creativity is so much part of your recipe. But the other thing that you have been very good at from the start is identifying or creating, making these sort of codes, these recognizable icons that say Schiaparelli? I'm thinking of the jewelry and the bags that have the jewelry on it. So you're really doing this balancing act of surprising us, but also creating recognizable pieces that have this currency in fashion and beyond. And so do you think you learned that from Tom, this sort of how to make an icon or make a signature or where does that come from?
- [14:42]
Daniel Roseberry
You know what I think it comes from? I think it comes from my undying love of pop music. I think of pop music all the time when I'm working on collections. And that's sort of my dirty little secret. When I'm working on the couture collection, I am imagining every single exit to be like a pop banger song that you will remember. I always say to the team, okay, great, but what's the hook? We have to challenge ourselves. I consider making fashion very similar to the act of making pop music, because it has to be something that the difference is that it can't be widely worn. Right. It's worn by the elite few. But I want it to be enjoyed and inspirational to the masses. And that's what I. I was raised on, like, the heyday of mtv. I was obsessed with Michael Jackson. I am fascinated by the phenomenons of. Of pop music, and I think that the couture collection, specifically. But as you're saying, even just the establishment of the co. These are invitations for me to, like, engage with that discipline in an. In my form, you know, in my medium.
- [16:13]
Nicole Phelps
Well, we have to know what pop songs you're listening to now. What's inspiring you now?
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Daniel Roseberry
I mean, look, I really got into the last Beyonce album. I think Miley is. Has exquisite taste in pop. I had a chapel. I went deep into chapel this summer for sure. And, you know, you can't really talk about. I. I think the. The catalog of Taylor is. It's quite something to behold for someone of her age, so. But what I'm obsessed with is that most of everyone I'm attracted to is. Is women. I literally do not think twice about male pop stars. I couldn't even tell you a Harry Styles song. Like, it's really not. My Troy is different. Actually. I do love Troy, and I know every word to all the albums. But. But also old Janet. Like, there's really, like, old Mariah. Like, I. I was raised on Mariah. I think Mariah has amazing instincts. So. Yeah.
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Nicole Phelps
And you have a special relationship with Doja.
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Daniel Roseberry
Cat and Doja. Absolutely. I mean, Doja was. I had never met her before. We fit her for the devil.
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Nicole Phelps
Wow.
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Daniel Roseberry
And I'm so honored to have the devil in this light, you know, fashion way, become a part of her own iconography. I mean, that's. Yeah, that's very. It felt like history making in a way.
- [17:53]
Nicole Phelps
Hmm. Okay, we're gonna take a quick break.
- [18:09]
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- [18:34]
Nicole Phelps
And we're back. Let's pivot a little bit. You were on the red carpet via Kendall Jenner at the Academy Musexcuse me. The Academy Museum gala in Los Angeles.
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Daniel Roseberry
Yes.
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Nicole Phelps
It's a fabulous dress from a recent ish couture show. And talk about the red carpet. It's been really integral to your success at Schiaparelli. I. As a. As a observer of fashion, it's one of the aspects that I know a little bit less about. So I'm always curious about how these dresses go from the Runway to the red carpet. That one was from a show in January. Right. So it's stayed off the red carpet for most of the year. I wonder when it was reserved.
- [19:19]
Daniel Roseberry
Well, it's changed because now the couture has become in such high demand that before the show, I sit down with the press team, and I select, like, five to seven looks that are embargoed from clients. Because what happens now is that clients, we sell things. Day of look, sell day of look, sell to clients who are not present via Vogue Runway, via WhatsApp. We have sold gowns with a WhatsApp and a wire transfer immediately. So it becomes this sort of, like, frenzy. And in couture, the first person who buys something has regional exclusivity. And then any other opportunity to sell another version or the same. The same dress goes to the first buyer for their right of approval, basically. So Kendall's look we had embargoed, and it's sort of was a lady in waiting. And what's crazy is that. What's so fascinating. And this is. I can't name names, but when you. Okay, so you find it on Kindle at the end. Right. But oftentimes with these dresses, they've been tried on by many people, and it's always. It's just. You're waiting for the right person, the right fit, and the right moment, and then it's magic, you know, with something like that, where Kendall's wearing something from the couture, she requested it months ago, so we help. We've held it for her. We fit it in, minor alterations, you know, But. But that was Basta. Custom's a different story. I mean, when we do custom for clients, you really. Because we don't. We don't pay anyone to wear Schiaparelli. That's. I think, what most people don't realize is the millions of dollars that go into placements. So big brands will have, you know, you have your. Your tribe of. Of clients who are receiving a lot of money to wear these garments, and rightly so, because they're bringing press and millions of dollars of press to the brand. But that means we. We don't have access to them, or we wouldn't have access to them on the Oscars, for example, or something like that. But I think that's what. That's another thing I'm really proud of, because we've never paid anybody to wear Schiaparelli, and we've Never flown anybody. Like, I hope she wouldn't mind me saying this, but when JLO wants to come to the show, JLo's. She's flying herself and her team to the show. We don't do any of that. So I hope that people can feel that difference, too. I think you can always tell when there's an actor and she's wearing something that she was paid to wear versus she wanted to wear this dress or she wanted to wear scap. And she's just so thrilled. And it. I think there's a difference there, and I think people can. Can see that most of the time.
- [22:44]
Nicole Phelps
Thank you. That's exactly the kind of juice I wanted about that dress. I want to talk about Hollywood, too, because last year, remember a headline that you signed with caa? And I know you're a busy guy and you're not about to go act in a movie, or maybe you are, but I'm curious why you did that and what interests you beyond the Runway and beyond fashion.
- [23:11]
Daniel Roseberry
So I had been approached in the same month for two huge opportunities. One was in popular to be sort of a creative, part of a creative engine, and then the other was in film. And I desperately would have loved to do both of those things, but at the time, the contract that I started with at SCAP precluded me from. From being able to do anything outside external, active activities. So that really led to, you know, a different kind of contract here so that I could take on that kind of work eventually. And, you know, I obviously, I think it's very rare to see a designer make that leap in a legitimate way from fashion to anything like name it. I honestly, like, I know Helmut Lang is a. Is painting in the Hamptons. I. I literally cannot think of Tom Ford examples other than Tom Ford, who is the benchmark, who have. Who have successfully broadened beyond this medium. Part of that is, I think of, because what it costs to succeed in this medium, it is so costly of yourself to. To really succeed that by the end of the day, I think most people just want to retire. But my hope is that, and this is why I signed with caa, was that when the right project comes along, I, you know, I want to Oscar. I want an Oscar. I want to design costumes for something. I want, you know, one of my favorite movies growing up was Moulin Rouge. I saw it 13 times in the theater. I was absolutely obsessed. I think most of that had to do with being secretly in love with Ewan McGregor, but I didn't really know that at the time. But I was obsessed.
- [25:15]
Nicole Phelps
I was in love with both of them. And Nicole Kidman.
- [25:19]
Daniel Roseberry
What. What a moment. But, yeah, I know I could do that, and I would love to do that. And so caa and that signing was just the beginning of a process that I think is something I would love to do.
- [25:35]
Nicole Phelps
Well, one more question about Hollywood, then. We're entering awards season, and I'm curious if you have any feelings about the direction actors and actresses will go on the red carpet, or is there anything you're hoping to see? Do you feel hopeful about the fashion potential of the upcoming season?
- [25:55]
Daniel Roseberry
Nicole? Okay, the thing is, is that before I started at Schiaparelli, you know, I'm not one to toot my own horn. Okay. But I will say this. Before I started at Schiaparelli, and I think you could look at this. I think the red carpet was very, very boring. And a lot of people were not doing red carpet either. JW wasn't doing red carpet. Demna wasn't doing red carpet. There was. It was really classic. It was like Armani. There was. And it felt very stylist driven in a way that, I mean, look, I love the stylist, but it felt very safe. And part of my desire at SCAP was to. To bring back the kind of red carpets that I used to watch on E with Steve Kametko and Joan Rivers, and that, you know, that dress made out of AMEX cards and, like those. The Rose McGowan naked dress and those. Those risks that were taken within that context of a classic red carpet framework. And I think from that first couture collection, I think we did do that. I think that we had this sort of messy volume. It wasn't just princess ball gowns all the time, and we. It was a bit disobedient or a bit irreverent. I think of, like, Bella as one of my favorite moments that was still really controlled, but had that X factor pebble in the boot that makes it a great pop song, you know, where you just think of it, you know exactly what you're talking about. But then I think. I think it has just become so exhausting to see people try and outdo and designers try and outdo, and it just ends up looking like clown clothes sometimes. So I am feeling more restraint, and I'm feeling more about her. I want to make it more about her and less about this huge, you know, 50 yards of fuchsia, whatever that are surrounding her. And I just. Yeah, I liked what I saw at the Academy gala. It felt like there Was sobriety settling in?
- [28:21]
Nicole Phelps
More with Daniel Roseberry after the break.
- [28:29]
Sponsor Intuit
I'm Nomi Fry.
- [28:30]
Daniel Roseberry
I'm Vincent Cunningham.
- [28:31]
Nicole Phelps
I'm Alex Schwartz. And we are Critics at Large, a podcast from the New Yorker. Guys, what do we do on the show every week?
- [28:38]
Daniel Roseberry
We look into the startling maw of our culture and try to figure something out.
- [28:41]
Nicole Phelps
That's right. We take something that's going on in the culture now. Maybe it's a movie, maybe it's a book. Maybe it's just kind of a trend that we see floating in the ether.
- [28:50]
Sponsor Intuit
And we expand it across culture as kind of a pattern or a template.
- [28:56]
Daniel Roseberry
We talked about the midlife crisis starting with a new book by Miranda July. But then we kind of ended up talking about Dante's Inferno.
- [29:02]
Sponsor Intuit
You know, we talked about Kate Middleton, her so called disappearance. And from that we moved into right wing conspiracy theories.
- [29:10]
Daniel Roseberry
Alex basically promised to explain to me why everybody likes the Beatles.
- [29:14]
Nicole Phelps
You know, we've also noticed that in advice is everywhere. Advice columns, advice giving and we kind of want to look at why. Join us on Critics at Large from the New Yorker. New episodes drop every Thursday. Follow wherever you get your podcasts.
- [29:29]
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- [30:45]
Nicole Phelps
I want to talk about students because you left fit to to go work at Thom Brown. We have a lot of student listeners of our podcast and I'm sure people come to you for advice. What kind of advice do you give young aspiring talents?
- [31:05]
Daniel Roseberry
I have some controversial advice.
- [31:08]
Nicole Phelps
Good.
- [31:10]
Daniel Roseberry
My advice would be to copy copy the Greats. And don't be so obsessed and consumed with being so original so early. I think that, you know, Yoji said this too. He said, copy, copy, copy. And at the end of the copy, you find yourself. And I think that that's incredibly relieving as a student, because I think, you know, going through fit, you show up on day one and everyone is peacocking. This is who I am. No, this is who I am. This is what I stand for. This is how I see the world. And there's so much pressure to be the world's most unique visionary from day one. And I think copying the greats and collaging them together, you know, it's like saying, okay, I love this part about Eve, but I love, I would like it to be less decorative. I'd like it to be more restraint, like, as a dean. And, you know, I. Because that's what they all did anyways. You know, I, I, I just think that you can find traces of Elza's world in Cristobal's world, you know, so that's what my. I, I used to say, find a mentor. But I think that that's really sometimes unfair to tell people, because not everyone has the luxury of being exposed to great mentorship. And I think that's an industry problem. But I think as a student, as you go into these, I think it was Virgil who said, there's like the 10% rule, right? Change something 10%, and then it's officially original and yours. And I think as a student, like, trying to master something that or copy something, I just think there's so much to learn there, and I think that originality can come later.
- [33:17]
Nicole Phelps
I know you're going down to. After the award next week, you're going down to scad the Savannah College of Art and Design, because one of my co workers, Jose, is also going down. He's a graduate. And I wonder, what do you get out of meeting with students? What do you learn from students? These days?
- [33:36]
Daniel Roseberry
I just find it so restorative to be with people who are still dreaming really big and who have an unadulterated sense of potential. And obviously, I want to know what they're looking at, what they're into, what it's what inspires them. But I think it's, it's an energy thing. I think student life, it's unfortunate. I, I loved being a student, right? I had a complicated relationship with myself at fit. I was still in the closet. I was super shy. I never really went out, but I loved working with this idea that anything could be possible, you know, and so I, I love being around people who still feel permission to dream really big. I think cynicism is one of my least favorite or attractive qualities and that I, I'm not drawn to in others.
- [34:48]
Nicole Phelps
I want to talk to you about fashion awards. Do they mean anything to you? Do you think that they're important?
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Daniel Roseberry
You mean like the CFDA awards?
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Nicole Phelps
The one that you're getting on Monday, the International Designer of the Year award?
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Daniel Roseberry
I'm going to be honest with you. I am not a child of the cfda. I was never ever bold enough or confident enough to put myself out there in the beginning parts of my career and go and go through that incubation system. I really was under. Tom's, went to the school of Tom Brown. I didn't go to the school of the cfda. So this will really be my first interaction with, with that. I, I think there's tremendous value to celebrating the work that is being done to advance and evolve the American fashion system. So, yes, absolutely, you're coming to New.
- [35:55]
Nicole Phelps
York a couple days before the awards. And I've often heard you talk about being a little bit lonesome for the city where you spent so many years. So I wanna know what's on your agenda. What are you gonna do while you're here in New York?
- [36:11]
Daniel Roseberry
I'm going to throw a party for myself so that I can see everybody all at one time. Right. I'm going to go to a few restaurants that I missed, that I've missed in love. And unbeknownst to me, my entire family, my parents, my siblings and their spouses are all flying in for the CFDA's. They know they're not invited, but I will be spending a lot of time with them. You know, I was having this conversation with this girl from Germany when I was in California. This was like two years ago. And she was living in Joshua Tree alone. Okay. And she hadn't, because of COVID She hadn't been back home in like four years. And she was preparing to go and she has a pet snake. And, and I was like, well, what do you do with the snake if you're going to be gone for three months or whatever and you live on, you're up basically a ranch house in Joshua Tree, like a trailer. And she said, oh, well, it's actually really easy because snakes are cold blooded. And so I can take a frozen mouse out of my freezer, defrost it on the radiator and feed it to my snake when I leave. And he'll regulate his metabolism for the month that I'm gone. And if I'm going to be gone for two months, I'll feed him two mice. And so it became this running joke with me and my friends that when I go back, I'm. I'm mice feeding because I'm basically, I'm storing up on love and community and I'm taking that with me back to this. To this city, which, as anyone knows, the community is hard to find here.
- [38:25]
Nicole Phelps
Well, that's beautiful. You brought tears to my eyes. And I don't like mice.
- [38:30]
Daniel Roseberry
Yeah, me neither. But it was such a vivid reminder that I really try and just see as many people as possible and just really store up and then. Because when I come back here, I've never spent more time alone than living here.
- [38:48]
Nicole Phelps
Who were the designers that got you excited about fashion when you were a teenager, before you headed to FM it?
- [38:56]
Daniel Roseberry
The entire reason why I used to want to be a Disney animator and I was obsessed with Disney. I went there, I dragged my family there three times. I made a portfolio, we went backstage, I got to meet all the animators. It was a whole thing. The person that invited me to think about fashion was Michael Kors. And Style Channel did a free month in Dallas, right? Like when the Style Channel was. Was popular and it was Video Fashion and Fashion File and Behind the Velvet Ropes and all these incredible series which, God, I wish they still existed. They would be so amazing. But one of them was a documentary on Michael Kors. And I saw this guy who came from the suburbs who had a pretty. A really stylish mom, but, you know, middle class background. And I think he was like dressing the windows at Barney's or something with. And someone passed by and just bought his entire senior collection or some insane story. And I was like, you know what? Let me try drawing fashion and let me imagine myself. And I just, I got hooked. And then in school, I mean, this was in fashion school, this was McQueen. And this was Guess Gear Balenciaga. I remember being a student, I was a freshman. And it was the collection that Gas Gear opened with. Four black Spanish dresses, do you remember? And enclosed with hand painted Japanese sonography, neoprene. And that the heels were frozen in these like icicles. And all of the jewelry was replicas of crystal ball, jewel. And I. What I will never forget the feeling of awe and seeing like I had, like my brain broke. Like I couldn't unsee that. I have to say. Yeah, and I think McQueen too. McQueen scared me because it was so Dark and so selfish. And you were aware that he was exercising his own demons and you were just a part of that. And so that I've always wanted to, like, let the light in and not engage with that darkness. But I was, I mean, blown away by. By what he did in the shows as well, obviously, I mean, as we all were. So, yeah, I think those three cores. I talk about Michael Kors all the time. He did this collection called Palm Bitch. And I like, it was Giselle. They were all bronzed and beautiful. And it was really that. That thing. And I just. Oh. The last thing I'd say is Michael Kors for Celine in Thomas Crown Affair.
- [42:04]
Nicole Phelps
Great movie.
- [42:05]
Daniel Roseberry
That was. Oh, my God. I remember watching the original years after, and I was like, this is garbage. I was like, the remake was so much more satisfying for me. But, yeah, that's who I would say. I really, Nicole, did not get into the greats. I got into them too late. I was only obsessed with the contemporaries. I really have never started to engage with Eve and beyond until later.
- [42:38]
Nicole Phelps
Right. Well, you're a young man. There's a lot of time to dig more into those.
- [42:44]
Daniel Roseberry
Yes.
- [42:45]
Nicole Phelps
Yeah. Thank you for doing this. And I learned a lot.
- [42:52]
Daniel Roseberry
Thank you, Nicole. I really love what you guys are doing. I'm so happy to be a part of it. And the most important thing for me also, too, is to be able to hopefully say something encouraging to students who are. Who are in school right now and about to emerge, you know, in this industry. So any chance I can to. To say something about that, I'll take. So thank you for having me.
- [43:17]
Nicole Phelps
Thank you. That's it for the Run Through. See you Thursday.
- [43:31]
Sponsor Intuit
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.
- [43:58]
Daniel Roseberry
From prx.