Vogue Editors Go Behind The Scene at NYFW

Summary

Detailed Summary of "Vogue Editors Go Behind The Scene at NYFW" | The Run-Through with Vogue
Release Date: February 12, 2025

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Introduction to New York Fashion Week

In this special bonus episode of The Run-Through with Vogue, Vogue editors Nicole Phelps and Chloe Mao take listeners behind the scenes of New York Fashion Week (NYFW). Recording while traveling between shows in Manhattan, they provide an insider’s perspective on the week’s most memorable moments, standout runway presentations, and the overall atmosphere that defines this premier fashion event.

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Arrival and First Impressions ([01:16] – [02:33])

Nicole and Chloe begin their journey in an Uber from Manhattan, transitioning from the Kalina Estrada show to the Christopher John Rogers (CJR) presentation. Nicole expresses excitement about NYFW's role in revitalizing connections among fashion professionals:
“New York Fashion Week has begun. New York Fashion Week ended yesterday and it's been so great seeing all of our friends and colleagues out and about. It always feels like a reunion and it naturally kicks off the wider fashion month.” ([01:16])

Christopher John Rogers' Standout Show ([02:33] – [04:29])

Christopher John Rogers returns to the runway after a two-year hiatus, marking his prominence as a headliner. Describing the show’s theme as “Willy Wonka film noir,” Nicole reflects on the sophisticated evolution of Rogers’ designs. The venue at the Brooklyn Navy Yard, despite initial reservations about its size and temperature, becomes a dramatic backdrop for Rogers' vibrant use of rainbow hues, taffeta, and stripes:
“It really felt like a big fashion moment.” ([03:05])

Notable Quote:
Nicole Phelps: “Christopher said it was Willy Wonka film noir, which is a lot to think about. I'm going to think about that all the way home and try to figure out what that means.” ([02:33])

Highlighting American Sportswear and Rogers' Impact ([04:13] – [05:12])

While much of the week focused on American sportswear with gray jackets and sweaters, Rogers' colorful designs provided a refreshing contrast. Nicole emphasizes Rogers' unique position in the NYFW scene:
“Because he really stands out, I think in New York. This week was, you know, a lot about American sportswear, but you could say it's a week of gray jackets and sweaters and stuff. And he is such a bright spot.” ([04:14])

Chloe adds personal anecdotes about intersecting their Vogue shoots with playful elements from other designers’ shows, enhancing the collaborative spirit of NYFW.

Calvin Klein's Prestigious Return and Debut Show ([05:12] – [07:10])

A major highlight was Calvin Klein’s highly anticipated return to the runway after two decades of absence. The debut was marked by a dramatic unwrapping of the invitation and a star-studded front row, including Greta Lee, Bad Bunny, FKA Twigs, Kate Moss, Chrissy Turlington, Calvin Klein himself, his ex-wife Kelly Klein, and Anna Wintour. Nicole reflects on the emotional significance of Calvin’s presence:
“They were quite emotional. It was like a reunion moment.” ([07:10])

Notable Quote:
Nicole Phelps: “Calvin Klein himself came with his ex wife. Kelly Klein and Anna Wintour were flanking him on either side. It was very sweet.” ([06:46])

Frances Howey's Debut at Form and Female Leadership ([07:10] – [08:14])

Frances Howey's introduction as the new creative force at Form marks a significant advancement for female leadership within the fashion industry. Nicole highlights the rarity and importance of having two new female designers debuting their shows, reinforcing the narrative of increasing female presence in creative director roles:
“It's a very rare moment when you have two new designers starting and the two new designers happen to be women.” ([07:10])

Additional Shows and Personal Experiences ([08:14] – [11:52])

Chloe shares her experiences from other noteworthy events, such as Bodie’s show in New Orleans and Edie Parker’s burlesque spectacular in Nomad featuring Countess Luann de Lesseps. These diverse showcases add depth to their NYFW coverage, illustrating the event's vibrant variety:
“I went to Edie Parker's burlesque spectacular in Nomad, which had Countess Luann de Lesseps performing and the boys were going wild for the Countess.” ([08:14])

Presentations vs. Shows: Spotlight on Emerging Designers ([17:56] – [19:01])

The conversation shifts to differentiate between presentations and traditional runway shows. Nicole explains that presentations often provide emerging designers with a platform to engage more personally with the audience:
“A presentation could be something that a young designer or emerging designer does who doesn't have the hundreds of thousands of dollars or the sponsorship money.” ([17:56])

Highlighting Henry Zankoff’s presentation, Nicole praises his exceptional knitwear and artisanal craftsmanship, noting his label Zankov's impact within the Vogue office:
“He is really an exceptional knitwear designer and very inventive and, you know, lots of color.” ([17:56])

Coach's Retro Revival and Sustainability ([19:15] – [20:44])

At the Park Avenue Armory, Coach presented a 90s-inspired collection infused with modern sustainability practices, featuring upcycled denim and suede appliqués. Nicole and Chloe appreciate the nostalgic yet contemporary aesthetic:
“Most of the jeans were actually made out of upcycled denim that he'd repurposed.” ([19:36])

Chloe adds enthusiasm about the show's ambiance and the musical performance that complemented the fashion display:
“It had a very moody, fun performance by a trio, Nation of Language.” ([19:15])

Upcoming Shows: Michael Kors and Thom Browne ([29:05] – [31:16])

Looking ahead, Nicole provides insights into the final shows of NYFW, featuring Michael Kors and Thom Browne. Both designers explore themes rooted in American sportswear, with Michael Kors emphasizing comfort and 90s nostalgia, while Thom Browne incorporates heritage tweeds and intricate embroideries:

“They both said to me that they find it strange that New York, like sportswear, was born in New York, but somehow America is always like sort of the second city, or New York is the second city to Paris in fashion.” ([29:13])

Notable Quote:
Nicole Phelps: “Thom Browne’s silhouette is very strong, with very big shoulders for both men and women, and super layered.” ([30:44])

Diatima Luar and Tory Burch's Final NYFW Shows ([23:07] – [28:49])

Rachel Scott’s Diatima Luar showcases a transition from her renowned crochet work to include sophisticated tailoring and draped evening dresses. The editors commend the elegance and versatility of her new pieces:
“She focused on tailoring and then also on some draped evening dresses. There’s a sort of languor to the draped evening pieces that was quite nice.” ([23:22])

Tory Burch’s El Pato show is praised for its romantic and moody set, featuring soft knits with unique details like rat motifs on tights and floral dresses adorned with whimsical elements:
“There was enough weird, like there were these very pretty draped dresses, a floral dress, and then these weird sort of rabbit's feet hanging off of them with sort of odd threaded loops.” ([28:49])

Notable Quote:
Nicole Phelps: “Rachel Scott... has become known very quickly for these incredible crochets that she has made in Jamaica by women in Jamaica.” ([23:22])

Final Thoughts and Future Events ([31:35] – [32:42])

As NYFW concludes, Nicole and Chloe reflect on the relative quietness of February’s events compared to the bustling September shows. They anticipate a surge of international designers in the upcoming months, particularly in Paris, and hint at major debuts from Sarah Burton at Givenchy and Heider Ackerman at Tom Ford:

“There will be exciting names from Europe on the schedule in September and it just feels a little bit part of, part of the cycle to me.” ([31:35])

Conclusion

Nicole Phelps and Chloe Mao wrap up the episode by acknowledging their production team and promoting related Vanity Fair podcasts. They emphasize the continuous excitement and dynamic nature of the fashion industry, encouraging listeners to stay tuned for future episodes that delve deeper into the cultural and creative evolutions within fashion.

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This comprehensive summary captures the essence of the episode, highlighting key discussions, notable quotes with precise timestamps, and providing a structured overview that is both engaging and informative for listeners and non-listeners alike.

Transcript

[Chloe Mao]

Everyone complains about winter. I love the excuse to stay home in January and February. I really commit to just watching TV in bed, watching my, you know, Britbox murder mystery and I am enjoying my Brooklinen sheets. Lloyd, my dog is a big fan. Lloyd is very discerning about linens and he's put his nose right into those pillows. So big plus for Brooklinen from Lloyd Shop award winners and fan faves in store or [e-mail] that's B R O-O-K L I N E N.com get 15% off your first order today. This episode is brought to you by Progressive Insurance. Do you ever find yourself playing the budgeting game? Well, with the name your price tool from Progressive, you you can find options that fit your budget and potentially lower your bills. Try [e-mail] Progressive Casualty Insurance Company and affiliates Price and coverage match limited by state law. Not available in all states. Hello, I'm Chloe Mao.

[Nicole Phelps]

And I'm Nicole Phelps. We are in a Uber from Manhattan, coming from the Kalina Estrada show, going to the Christopher John Rogers show, and we're going to meet up with Nicole very soon. New York Fashion Week has begun. New York Fashion Week ended yesterday and it's been so great seeing all of our friends and colleagues out and about. It always feels like a reunion and it naturally kicks off the wider fashion month. We're talking about the fall 2025 shows. And our colleagues will be off to London, Milan and Paris in a few days.

[Chloe Mao]

Our colleagues, including Nicole Phelps. But today we are capturing the magic and frankly, the mania of attending New York Fashion Week by recapping the shows and hearing from the Vogue editors firsthand who saw the amazing moments in the flesh.

[Nicole Phelps]

My name is Nicole Phelps. I'm Mark Caducci. Hi, my name is Leah Faye Cooper.

[Chloe Mao]

My name is Jose. And New York Fashion Week is the moment. So welcome to a very special bonus episode of the run through.

[Nicole Phelps]

Everybody was so excited for Christopher to be back on the Runway after two years. And, I mean, he's become even more sophisticated with color. Christopher said it was Willy Wonka film noir, which is a lot to think about. I'm going to think about that all the way home and try to figure out what that means. New York Fashion Week, of course, began last Thursday. Christopher John Rogers was the headliner of the day. And it's been a couple of years since he's been on the Runway.

[Chloe Mao]

That felt like such a starry, dramatic moment. It really felt like a pinnacle of the week, drama wise, even though it was the first day. It was at the Brooklyn Navy Yard, which everyone was grumbling about. But then. And it was quite chilly in there. Cause it was in one of the big hangars. And then the drama of the show starting in this huge space and his signature rainbow hues and taffeta and stripes, and it just felt like a big fashion moment.

[Nicole Phelps]

I agree. And it's nice to see him come back after a pretty long pause, really having thought about his work a lot. He was a young designer when he first started getting attention, and I think over the years we've really watched him grow. Why did he take a break after the pandemic? He had decided to show on the off schedule, like in. On the resort sort of pre season collection. And in fact, it was actually aligned with the Met Gala one one year. But in the end, I think the halo effect of New York Fashion Week attention is just too big a lure to ignore. And I think it's better for him to be in the mix in the conversation.

[Chloe Mao]

Yeah.

[Nicole Phelps]

Because he really stands out, I think in New York. This week was, you know, a lot about American sportswear, but you could say it's a week of gray jackets and sweaters and stuff. And he is such a bright spot.

[Chloe Mao]

It felt like that Thursday I hustled into Collina Strada a few minutes late and saw the end of young toddlers playing with toy kitchens, which I was happy about because it coincided with our toddlers playing with childlike accessories shoot that went live the same day.

[Nicole Phelps]

Synergy. Synergy.

[Chloe Mao]

And everyone loved the Kalina 2 brides kissing, which I thought was a really sort of fun punk version of the Chanel bride. And then we all had a very fun group bus ride on the CFDA bus, from Colleen Estrada to Christopher John Rogers. Although we did wait for Lynn Yeager and Mark Holgate.

[Nicole Phelps]

Thank you. Cfda. Best invention.

[Chloe Mao]

It really is. We started Laia, started a Google Doc of Overheard on the CFDA bus, which I really want to turn into something.

[Nicole Phelps]

That'S a great idea. I'm Marc Guiducci.

[Chloe Mao]

I'm the creative editorial director of Vogue.

[Nicole Phelps]

Whenever a new designer is coming into.

[Chloe Mao]

A storied house, we always hear about them going into the archives. And one thing that we've heard a little bit about is that she will have some of Calvin's iconic casting. So whether that's Kate Moss, who was.

[Nicole Phelps]

Famously a Calvin girl, or Christy Turlington.

[Chloe Mao]

Who had an exclusive contract with Calvin in the 90s, I think we can.

[Nicole Phelps]

Look forward to seeing some.

[Chloe Mao]

Some iconic supermodel moments.

[Nicole Phelps]

So Friday was also a big day. It was the debut of Veronica Leone at Calvin Klein. We actually had Veronica on the podcast earlier this week and I encourage everyone to listen to it because she.

[Chloe Mao]

It's such a good interview. Calvin definitely felt like the big moment and the most anticipated debut of the season. The invitation came in a big box that took a dramatic unwrapping. Uh, when we arrived, it was one of the most celeb packed front rows I've seen at New York fashion in a while. There was Greta Lee in floor sweeping, sort of fog colored satin. There was Bad bunny in a St. Bart's hat, FKA twigs and her boyfriend.

[Nicole Phelps]

And of course Kate and Chrissy.

[Chloe Mao]

And of course Kate Moss and Chrissy Turlington. Chrissy Turlington with her daughter. And then most importantly, Calvin Klein himself came with his ex wife. Kelly Klein and Anna Wintour were flanking him on either side. It was very sweet. There was a huge, huge scrum of photographers around him. Almost as much excitement as Bad Bunny.

[Nicole Phelps]

The real marvel, right, as you say, was Calvin Klein because He retired about 20 years ago. And he really did disappear from the, from the New York Fashion Week scene. I don't think I've really seen him in person in a couple of decades. And it was special to be in the room and to see people who, who worked with him, reconnect with him. And actually they were, people were quite emotional. It was like a, you know, as you say, it was a reunion moment and New York Fashion Week is often full of those. But that was a really special one. It wasn't the only debut that day though. Frances Howey is the new woman at form. And it's a, a very rare moment when you have two new designers starting and the two new designers happen to be women. And I think the narrative might be changing a little bit after the, the months we spent, you know, online lamenting the fact that there were not enough women in creative director roles in fashion, mostly in Europe. But, you know, it's nice to see that New York is leading the way in that.

[Chloe Mao]

Yes. And Friday I actually couldn't go to form finally because I had to finish something actually. I had to write my scene report about Calvin Klein. But I did feel like there were people were going to a lot of fun appointments and seeing interesting things. On Friday, there was obviously the Bodie show in New Orleans, which was a big to do. I also, I went to Edie Parker's burlesque spectacular in Nomad, which had Countess Luann de Lesseps performing and the boys were going wild for the Countess. Let me tell you, it was quite a specific and delightful New York Fashion Week event.

[Nicole Phelps]

Well, we're gonna come back in a few moments and talk about more special moments from the week.

[Chloe Mao]

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[Nicole Phelps]

Okay, we're back. So the weekend had some very big distractions. Go Eagles. And also great shows. We saw Altuzara, Anna Sui Kate which was a standout. What do you remember? It feels like a long time ago already.

[Chloe Mao]

But I always love Altazara. I love that he shows it at his showroom. I love that it feels salon like. I love that he sort of scrapbooks books at everyone's seat wrapped in fabric from the season.

[Nicole Phelps]

What book did we get this season?

[Chloe Mao]

Weathering Very exciting.

[Nicole Phelps]

I was really marveling at the fact that that book is going on 200 years old and still has A lot to teach us.

[Chloe Mao]

Yeah.

[Nicole Phelps]

I also really liked Anna Sui on Saturday at the National Arts Club, which is that beautiful space. I love the National Arts Club on Gramercy Park. And, you know, she really is an antidote to, you know, the American sportswear that we saw so much of. She is so completely herself this season. She was looking at the sort of screwball comedies of the 30s. She mentioned bringing Up Baby, the Katharine Hepburn. So there was a real 1930s line to these beautiful, lame, floral, lame tea dresses and, you know, just sort of kaleidoscopic layering. And her. Her shows are so rich, and I really love her for that, and I'm very excited. She is having a retrospective in Arizona in April, so anybody in Arizona, make sure you go see that.

[Chloe Mao]

I love her stuff. I couldn't go to Eckhouslada, but I thought that that seemed like it had great energy and that people were very responsive to that. And it felt. I thought the whole thing was sort of no mood boards. It's all about real clothes that you'd see out on the street, someone you'd see on the subway, not something that looks like a fantastical Runway creation. Was that what you.

[Nicole Phelps]

Yes, yes, that's exactly right. All of them could have. Could have walked right off the Runway and. And onto the street. And I think that Katherine Holds Holstein at. Kate was trying to do that a little bit, too. Sometimes Kate shows the uptown version. Yeah, well, they can be a little bit, you know, like, who is that woman? She's this. You know, she describes her at this stealth New York woman, and sometimes it. To me, it seems more cinematic than it is realistic. Like. Like a movie set in her mind. But the fact that she. She added jeans to. And a more relaxed kind of attitude, to me, signaled that she. She knows it's just as important to. To dress us or to give us dreams for every day as it is to, you know, make you dream about a.

[Chloe Mao]

And that was a very dramatic setting. I mean, it was at the Park Avenue Armory, and it was a round Runway that was.

[Nicole Phelps]

You know, it was supposed to be the Yellow Brick Road. What? Yes. She was talking about David Lynch. The.

[Chloe Mao]

Well, I. I thought it seemed like a sound bath, like a TM kind of.

[Nicole Phelps]

Well, that. Because she. David lynch is one of her favorite directors, and she had been thinking a lot about him since his passing. And I didn't know this. Maybe everybody else does that. The wizard of Oz is David Lynch's favorite movie.

[Chloe Mao]

I didn't know that either, Nicole. I had a real crisis of Conscience, where I tried to go to the Carolina Herrera show and my husband yelled at me because it was the info session at our new kindergarten at the exact same time.

[Nicole Phelps]

You can't miss that. You can't miss that. Well, yes, it was a little bleary eyed. Early.

[Chloe Mao]

Hey, this is Stephanie and I'm about to go backstage at the Carolina Herrera show.

[Nicole Phelps]

The early alarm was rewarded by the 48th floor view of the Solo building's expanse. You know, you could see all the way to the George Washington Bridge from up there. And the snow in Central Park. It was really one of those New York moments that, you know, Carolina Herrera, Wes Gordon, who designs there, can give us. And Nicole sobs should be in the other elevator. Perfect. So we just are walking out of the show.

[Chloe Mao]

What did you think?

[Nicole Phelps]

Well, it was true. Carolina Herrera, such beautiful colors, lots of florals and lively tulip prints. And he made a point of saying that he likes tulips because even though obviously they bloom in spring, they're a flower that you plant in fall. And this is a fall collection. So the set was equally cinematic. He was inspired by this movie. Maybe you've seen it, called being there. 1979. Peter Sellers, Shirley MacLaine. It's about Chauncey the gardener, who is a simple gardener with deep thoughts, or apparently deep thoughts about the economy and politics. And he saw it as a young boy, you know, rented with his dad. And I think it made an impression on him. And in any case, there were thousands of ranunculus planted in the, in the floor of this raw office space at the top of the Solo building. So very, very pretty.

[Chloe Mao]

Oh, is that why I saw people clutching.

[Nicole Phelps]

Yes, people were allowed to take ranunculas. But of course, Stephanie and I were mad to get out to finish our live taping at the podcast. So we didn't get any flowers. And then our colleague Mark Holgate went to Zenko presentation. Henry Zankov, celebrating five years working as a designer with his own label, Zankov, which is quite an achievement when you think where we've been over the last five years. Always think of him as a kind of beacon of creativity and individuality and kind of just beautiful artisanal craft. I mean, I think that's one of the things that he is exceptionally gifted at.

[Chloe Mao]

Ooh, that looked fabulous. Yes, I loved those sweaters and the sort of the sequin sweater tied around the waist.

[Nicole Phelps]

Henry Zankoff, a CFDA emerging designer winner last year on a real role. He, you know, is really an exceptional knitwear designer and very Inventive and, you know, lots of color. We see people in the Vogue office wearing his pieces a lot and really just mixing them in with their own wardrobes. There's an ease to knitwear that makes it really desirable. I think seeing you in your V neck and me in my turtleneck, I mean, it is winter.

[Chloe Mao]

But, Nicole, what's the difference between a presentation versus a show?

[Nicole Phelps]

A presentation could be something that a young designer or emerging designer does who doesn't have the hundreds of thousands of dollars or the sponsorship money. So it's usually to put on a show. It can be budget based, but presentations don't often get as much attention as shows. But it can be a good way for a designer to really get to know their audience, and vice versa. A lot of times, you're able to talk to the designer at a presentation, and hearing what they have to say can be obviously super illuminating about. About what you're seeing, and you learn a lot about a designer that way.

[Chloe Mao]

I always enjoy presentations because I like models sort of roving through the space, so it feels like you can see how the clothes would actually interact in the world.

[Nicole Phelps]

Can you tell us where we. I can tell you where we are. Which is the Park Avenue Armory at 65th and park, but it looks entirely different. Coach was a show.

[Chloe Mao]

Coach was a real show at the Armory. Everyone was hot anticipation for who was going to be the musical guest, because in the middle of the square Runway was a sort of band setup. It had a very moody, fun performance by a trio. Nation of language.

[Nicole Phelps]

I mean, I am a 90s kid. I came to New York in the 90s like Stuart Vevers did at Coach, and so it looked familiar to me. You know, a slip dress over a pair of jeans will, you know, it always will. Take me back to the grunge. The grunge moment. I think a lot of the jeans were actually made out of upcycled denim that he'd repurposed. And some of them also had patches of upcycled suede appliqued onto them as well, which I thought looked terrific.

[Chloe Mao]

Perfect. Okay, we're going to take one more quick break, and then we're back for Diotima Luar, Tory Burch, and the final day of New York Fashion Week.

[Nicole Phelps]

I'm Alex Schwartz.

[Chloe Mao]

I'm Nomi Frye. I'm Vincent Cunningham. And this is Critics at Large, a New Yorker podcast for the culturally curious.

[Nicole Phelps]

Each week, we're going to talk about a big idea that's showing up across the cultural landscape, and we'll Trace it through all the mediums we books, movies, television, music, art.

[Chloe Mao]

And I always want to talk about celebrity gossip too, of course. What are you guys excited to cover.

[Nicole Phelps]

In the next few months?

[Chloe Mao]

There's a new translation of the Iliad that's coming out. Emily Wilson. Really excited to see whether I can read the Iliad again, whether I'm that literate. I mean, the jury is out.

[Nicole Phelps]

I can't wait to hear Adam Driver go again in an Italian accent in Michael Mann's Ferrari. He can't stop. I mean, and bless him, I can't wait.

[Chloe Mao]

Molto bene.

[Nicole Phelps]

Molto bene.

[Chloe Mao]

We hope you'll join us for new episodes each Thursday. Follow critics at Large today. Wherever you get podcasts, you really don't want to miss this. Don't, don't miss this.

[Nicole Phelps]

Don't miss it.

[Chloe Mao]

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[Nicole Phelps]

Hi diva.

[Chloe Mao]

Okay, so paint a picture of Diya Timo.

[Nicole Phelps]

What did we walk into right now?

[Chloe Mao]

Diatima.

[Nicole Phelps]

We walked into a very romantic, very moody, very beautiful set. Rachel said that this season she was.

[Chloe Mao]

Thinking a lot about the matriarch and how flattered her story has often been told.

[Nicole Phelps]

Rachel Scott, you know, won the womenswear Designer of the Year award and has become known very quickly for these incredible crochets that she has made in Jamaica by women in Jamaica. And they're sort of, you know, these trophy pieces and very, very signature. You like, look at it and, you know, it's diatima. And so the challenge for her is how to. How to grow from that. And she said that at the presentation yesterday that she wants to be known for more than just crochet, which she's al. She's always done, but it hasn't really been what people have latched onto. Now is the. Now is the time where she's trying to. To make that message clearer. So she focused on. On tailoring and then also on some draped evening dresses. And I thought that they, like, they really held up to the crochets. There's a sort of a languor to the draped evening pieces that was quite nice. And then the. The suiting, you know, it's a good counterpoint to the softness of the other things that she does.

[Chloe Mao]

No, I thought it was really pretty and felt very elegant, sophisticated, and like evening clothes, you could see. I don't know, for me, sometimes I feel like with Dyatima's clothes, I don't feel like I'm cool enough to wear them. And these, I felt like an older woman could wear them as much as a young, cool person.

[Nicole Phelps]

You are not an older woman.

[Chloe Mao]

I think that what people will take.

[Nicole Phelps]

Away from this Yo Timah show is that Rachel Scott is the one in.

[Chloe Mao]

New York Fashion Week.

[Nicole Phelps]

And then we were back a couple hours in that same building.

[Chloe Mao]

Oh, wow.

[Nicole Phelps]

For Loire, I mean, Raul always puts.

[Chloe Mao]

On like, a show with a capital.

[Nicole Phelps]

S and a capital W and like.

[Chloe Mao]

A lot of W's, you know what I mean? Like a show.

[Nicole Phelps]

And that show was in the lobby and so very, you know, they. They turned that room over really fast in between Diatima and Loire, and gosh. So that was tons of energy. You know, a late night show, but an incredible. An incredible turnout. Raul Lopez's shows are really, really the place to be. Like, you want it? You want to see it?

[Chloe Mao]

I'm Laia Garcia Furtado, and I'm the senior fashion news editor at Vogue Runway. The name of the show was El Pato. Pato is slang in a lot of.

[Nicole Phelps]

Caribbean for somebody who is gay.

[Chloe Mao]

You know, the show is really about sort of claiming that term back. And it was Just sort of. There was a hint of that 80s over the top deliciousness that we all love.

[Nicole Phelps]

But it was grounded on this very.

[Chloe Mao]

Like, his own point of view.

[Nicole Phelps]

And it was just, like, such a good show.

[Chloe Mao]

And I feel like every after a.

[Nicole Phelps]

Luar show, you're just, like, buzzing with energy. And this was just like, this just delivered. The funny thing is I saw a charcoal gray sweater, speaking of sweaters, that. That has my name all over it. Ah, we love to hear that. So I bet everybody listening shopping from the front row will be very surprised to know that I now consider myself a Luke. Okay. I know you are a big Tori fan, so what did you think of the show?

[Chloe Mao]

I am a big Tori girl, I have to say. And it was so fun to see our producer, Chelsea Daniel, talking to Leah Fay Cooper.

[Nicole Phelps]

There were so many great textures. Lots of brushed wool, lots of velvet. Everything looked really, like, plush and cozy, but also very sophisticated and elevated.

[Chloe Mao]

I like when there's sort of a beginning, a middle, and an end to a show and with different moments in the clothes. And I really felt like that was the case for this, but not in a sort of overly dramatic way. I just liked a lot of the pieces, and I feel like we're gonna be seeing them and that people will actually wanna wear them. I loved also, we were sitting across from their robust celebrity front row, and it was fun to see what the young girls were taking pictures of and reacting to and what Martha Stewart was filming. The sequin blazer was a big hit for Martha. I bet.

[Nicole Phelps]

I bet. It's a show that really rewards closer inspection. Right? You have these soft knits that the seams were open on the sleeves so you could sort of pull up the sleeve and drape it across your shoulders like a scarf. And, you know, Sam Sussman, our intrepid social editor, backstage caught a picture of the tights. And on the ankle, there is a little rat. What?

[Chloe Mao]

Yes.

[Nicole Phelps]

It's so cute. Oh, my God. It's the only kind of rat you want swirling around your ankles in New York City is Tory Burch's. And. But that's the kind of thing. They're little surprises, like little Easter eggs. I think that people will like looking through the. Through the detail shots to discover.

[Chloe Mao]

And I also. There was just enough weird, like there was these very pretty draped dresses, a floral dress, and then these weird sort of rabbit's feet hanging off of them with sort of odd threaded loops. It felt very confident in that way.

[Nicole Phelps]

We're recording this on Tuesday morning. We are hours away. From a couple more big shows that will put the cap on New York Fashion Week. Michael Kors, we're headed there shortly. And then at the end of the day, we'll see Tom Brown.

[Chloe Mao]

Nicole has seen. She's like the wizard who's seen the things before they happen. Tell us. Give us a little preview of Michael Kors and Tom Brown.

[Nicole Phelps]

Well, interestingly, Tory Burch and Michael Kors were on the same wavelength. They both said to me that they find it strange that New York, like sportswear, was born in New York, but somehow America is always like sort of the second city, or New York is the second city to Paris in fashion. And yet we. We created the look of the world. Americans did. Like, everybody's in. In sweatpants, everybody's in jeans. And this was what America gave fashion. And so both of them really sort of were digging into this idea of American sportswear, Torey twisting it in funny ways, like we've already talked about. And Michael Kors, I think when people see it today, will. Will feel like. Like that is a Michael Kors show. There's no. There's no arguing it. It looks. It will look. It'll look familiar, but. But new, I think. You know, he had. And a little bit 90s, too. He had Uma Thurman, Sharon Stone, Glenn Close, all these women getting off a plane, say, in the 90s in their oversized blazer.

[Chloe Mao]

Oh, fabulous.

[Nicole Phelps]

And chinos and. And easy shirts, and just really feeling comfortable in their. In their clothes and in their skin. And then Tom and his partner, Andrew Bolton, bought a big house, an estate, I think you call it, upstate. And I don't know, maybe he's. He's turned into a birder. But there are incredible intarsias and embroideries.

[Chloe Mao]

Wow.

[Nicole Phelps]

Of audubon birds on his clothes. And he's using mostly heritage tweeds, all of which were designed specially for the show. And you see these. You know, the contrast of these sort of outdoorsy tweeds with these really exquisite embroideries and intarsias. And the silhouette is, as usual, is strong. A very, very big shoulder, both for men and women, and super layered. So many pieces go into one Thom Browne look.

[Chloe Mao]

I always love a Thom Browne show. Cause it feels very theatrical. Is there gonna be any voiceover this time? Cause I do love when he had Carrie Coon reading the Raven.

[Nicole Phelps]

Tbd. When I went there, I tried to pry it out of Tom's pr, but he would not confirm, so I don' that element.

[Chloe Mao]

But I did feel like this week was sort of a slightly quieter New York Fashion Week. Some people were not showing this season that often do. There's a break between New York and London. So I wonder if maybe some of the international press didn't come.

[Nicole Phelps]

I think February always feels a little quieter than the September shows. In September, it's still summer. You have the Europeans who want to come and show in New York because, because they get such a glow up from, from doing that. I think there will be exciting names from Europe on the schedule in September and it just feels a little bit part of, part of the cycle to me. And then, you know, there are really big things happening in Paris. In early March, we'll have debuts from Sarah Burton at Givenchy and Heider Ackerman at Tom Ford. So the big news of the season, you know, beyond Veronica Leone's debut at Calvin, will come in a few weeks. That's it for the Run Through. See you tomorrow.

[Chloe Mao]

The Run through is produced by Chelsea Daniel, Alex DePalma and Joanna Solotaroff. 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. Working at Vanity Fair. Our entire lives revolve around press screenings, premieres, film festivals, Q&As, set visits, award ceremonies.

[Nicole Phelps]

Not that we're complaining, it's pretty great. But you know that feeling when you see a new film or show and.

[Chloe Mao]

You want to talk about it with everyone immediately?

[Nicole Phelps]

We feel that all the time.

[Chloe Mao]

Yes, we sure do. I'm Richard Lawson.

[Nicole Phelps]

I'm David Canfield. And I'm Rebecca Foley. On Little Gold Men, Vanity Fair's flagship entertainment podcast, we discuss today's most exciting.

[Chloe Mao]

Films and TV shows.

[Nicole Phelps]

David and I are fresh off attending the LA premiere last night.

[Chloe Mao]

Break down the latest developments in the awards races. Gomez and Grande split the pop girly vote and catch up with Hollywood's biggest movers and shakers.

[Nicole Phelps]

Demi Moore, welcome to the show. Thank you for having me.

[Chloe Mao]

Whether you're a casual viewer or an industry buff, this is the podcast for you. New episodes are published every Tuesday and Thursday. Follow and listen to Little Gold Men wherever you get your podcasts.

[Nicole Phelps]

From. Prx.