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- [00:01]
A
This episode of the Run through is brought to you by Bumble. One of the reasons why so many of my friends are on Bumble is that it makes conversations feel that much more natural and easy. This is partly thanks to the app's guidance tools, which help you put your most confident self forward, and partly because my friends are also amazing people. Bumble offers tips on writing and filling up prompts, sparking more conversations instead of stale small talk. You'll never be left chatting about the weather again. If you're looking for someone who gets your vibe, refresh your Bumble profile today.
- [00:37]
B
This is the Run Through. I'm Chloe Mal.
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A
And I'm Cho Menardi.
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C
And I'm Nicole Phelps.
- [00:41]
B
And we are so happy to have our colleague from French Vogue and Fashion Week friend of the pod, Claire Thompson Janville. Welcome, Claire.
- [00:48]
D
Hi, everyone. Nice to be here.
- [00:51]
B
We are reporting live from the Vogue Paris office. It is Monday morning and we have a couple of shows left to see. Very excitingly, the Chanel show, which is happening tonight at the Grand Palais, and Louis Vuitton, which is tomorrow at the Louvre.
- [01:07]
C
But before, don't forget Mew Mew and Miu Miu.
- [01:10]
B
But before we talk about what we are excited about tonight, I want to hear everyone's big takeaways from the week of shows so far. Claire.
- [01:19]
D
Well, I loved Dior.
- [01:21]
B
Okay.
- [01:22]
D
I would say sexy's back, which I'm really happy about. Tom Ford was beautiful. I'm really liking because I was in Milan and it's always interesting to see kind of like zooming out, like the general themes and, you know, even when you look at Saint Laurent and the smoking and, you know, there's this kind of return to being really dressed up and kind of quite dramatic. And there's like a gown, a great gown. So my highlights were definitely, for the moment, Dior, Saint Laurent, Nicole, Givenchy all the way. Oh, yeah, Givenchy.
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A
Yeah.
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C
I want the arsenal, the full arsenal of those pantsuits.
- [02:04]
B
I know, Me too. I want to wear those pantsuits every single day. Givenchy was a real. It was fun also to leave Givenchy and hear everyone so moved by it and excited by it. I was reading your review, Nickel, and just hearing that Sarah talked about sort of leading with instinct and with by personality and what made sense for her. And it's been really interesting this season to see different. We had so many new designers last season. Obviously, Sarah was her sort of second collection last season. But I do feel like it's been interesting to see how these new creative directors come into their own at the houses and what the second and third collections look like, how are they sort of settling in? And in some cases, it's more successful than others, and it seems to be the most successful when you balance a respect and reverence for the house and the codes of the house, but also really insert your own point of view and perspective, which I thought Sarah did so beautifully. I mean, the dress that Mona Tugard wore, that was, like, embroidered with streaming fringes. It was so gorgeous. I hope someone wears that to the Met, because that is. Fashion is art.
- [03:12]
A
Although difficult to follow Mona.
- [03:15]
B
So true. Maybe Mona will wear it to the Met.
- [03:17]
A
I mean, someone needs to wear it. But, yes, Mona really just looked just sublime in it. And I totally agree with you. It's interesting to see designers completely hit their stride. It feels like a special moment. We're not seeing transformative from one season to the next the way that we may have been used to in the past, where you have a completely different fashion idea or a different look. It's more so that I feel that designers are honing what feels right to them and what feels right for the brand. And I definitely feel that. Wow. I think Givenchy was a turning point for me, and I think she showed to us her range because she'd had this quite minimalist palette. And then she. As you mentioned, that look that Mona wore, there was this richness to it, this embroidery, something that she's very known for, hand work. But this was the first time I think she really introduced that idea into the house of Givenchy. And it worked beautifully. And I'm really excited to see, because he just seems like he's going from strength to strength. I do think also Jonathan at Dior, it felt like I really got a sense of where he's going with Dior. And as we all know, as someone who's been in this job for two years, it takes a while to get to a place where people really understand what you're trying to do.
- [04:36]
B
Yeah.
- [04:36]
A
And you have to do a lot of repeating yourself, repeating your. Your vision, repeating what you're doing. So I'm sure it's similar for designers. You know, you have to kind of remind the world what you stand for, who you are, what you can do. And then there's a sense of gaining confidence. And I think that what we're seeing now are designers who are feeling much more confident in who they are and what they're doing for a particular house. And that's really refreshing.
- [05:01]
B
And that was true at Loewe, too. I thought. I thought they really sort of leaned into this vision that they very clearly set forward last time. It was bright, it was powerful, it felt fun and exciting, but just sort of stomped in. But also had a sense of whimsy and joy with these animals that Nicole, who is the artist who did the
- [05:19]
C
ooh, gosh, Cosimo von Bono or something like that.
- [05:23]
B
And it thought it was fun that she did these sort of enormous stuffed animals that were front row attendees. But also I loved the high heels that she did with them that were sort of patchwork patterns.
- [05:36]
A
And there's one moment also on kind of extending that idea on the back of that that interested me this week was the fact that now we're seeing all of the sort of new collections of the New Visions of the House hit the stores. And it's crazy to see how many people have been stamped.
- [05:54]
D
I love it.
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A
The Chanel store. And everybody wants to get.
- [05:56]
B
I mean, the Chanel Hunger Games has been such a delight to watch unfold. People spending hours trying to get one bag. Choma and I were at dinner with the model Emilia Gray, and she said she had an appointment there. And even with her appointment, it took two hours. She would pick up a shoe to look at it, put it down, someone swiped it. You only had a one mature bag minimum. And I said in front of friend who works at Chanel, I was like, yeah, but you could get as many old bags as she wants. She's like, we don't call them old bags. We call them pillars. But to see. And then also, I mean, I went and bought one of the new small Celine trio bags. I was very excited about that purchase of the week. But so many people were in there buying the Search Gasbourg shoes. And Becky Malinsky said she went in for the jeans. I mean, people are really buying this new stuff. A friend went in for the Loewe men's striped shirt. So to see what? Actually, our friend at the pod, Ricky DeSole, for her Nordstrom party, went and bought the Dries jacket and the Psycho. Sorry, the Dior jacket. Yeah.
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A
Looks amazing on her. I do think that it looks best on a petite woman.
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B
Well, it's rare that things look best on petite people, so I'm just too
- [07:08]
A
long in a torso for that.
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B
Okay, Choma, what were your favorite collections?
- [07:14]
A
Oh, I mean, Givenchy. Givenchy. I loved Celine. I thought the styling was everything. There was so much I wanted to buy. And it. It did make me think I actually need to go shopping before I leave Paris and just check out all of the new collections and see what I'm drawn to. It was. It was just a. The energy was great. I like that there was a new trouser silhouette, that sort of kicky flare, flared trouser. So there were, like, subtle shifts in what Michael's doing for the house.
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B
That Michael Rider, who's the creative director of Just Right.
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A
Because I think it's. It is important to kind of softly evolve the silhouette and not.
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B
Yeah.
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A
Not repeat yourself. And I think he did a really good job of reminding us or doubling down on what his. The identity. His new identity and vision for Celine, while also kind of gently evolving it. And I just love that magpie approach to fashion. Totally inspired me to buy these little. These little grigri. Yeah. From. From a flea market. So I love that show so much.
- [08:18]
B
Gemma's wearing a very colorful charm necklace,
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D
I have to say, about the Celine. Like, you know, it was actually really impressive because obviously last season we're out at the Saint Cloud, and then this season we're in the center of Paris. And there was a real wow factor walking into that show and seeing like,
- [08:33]
B
well, that was a big deal that they got. I mean, they were at the Institute to which you never can get access to.
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D
I thought that that was a real show of power as well for the house.
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C
It sounds like they're going to be there from now on.
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D
Oh, really?
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A
I love the location for them.
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D
Yeah.
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B
No, but you're right, Claire. It felt like this moment, especially on a Saturday, people were sort of standing along the Seine, the quay, sort of looking at it. And I also, you know, I loved what Sarah Mower wrote, that it was expensive looking but aspirationally relatable. So it was sort of put together, but not too much. And I do find, and Nicole sort of identified this, that a lot of the young women in the Vogue office are wearing, like, pops of red or scarves, and they're sort of doing their own version of that. And it's the Michael Ryder effect. And it's fun to see that in the Wild.
- [09:21]
D
But I would say something about Givenchy, because you're right. I mean, I really was so uplifted by that show. And I have to say that, you know, that's, for me, a woman designing for women, like, when it just hits the mark, it's what we want to wear, you know, and there's such a variety in terms of, like, her proposal. But I'm excited. I'm excited for her. But it's interesting what you were saying as well, Choma, about these Designers who are kind of getting into their groove, you know, and finding their confidence. And it's less about being performative or trying to, like, please everyone for everything. And what I liked as well is even at Chloe, you know, Chloe was like, she was the Chloe woman. Whether you are the Chloe woman or not, you know what the Chloe woman is now, and I am. And I also loved, you know, I guess it's like I'm 40 something. But, you know, some of. Some of these designers are from my generation. And the music, the choice of music was in some of the shows, like
- [10:21]
B
Dior, Chloe, the Celine playlist is on Spotify, which I thought was very chic. Yeah.
- [10:27]
D
So it feels like very multifaceted. I think it's been a really good season.
- [10:32]
B
Yeah, I do too. I think it's been exciting. And I loved the Dries show, as everyone knows. I'm.
- [10:38]
D
It's very you.
- [10:39]
B
I'm very easy, Dreezy person. I just thought he did such a beautiful job sort of layering all the different ideas that he had going. And I. I also thought it was so touching that he said, you know, they did it at school. That was also the site of McQueen's bird show. And he said he went to visit the venue and it's still a working school, and he saw all the teenagers streaming through. And Nicole, I mean, I read this in Nicole's review, so you could tell us about this.
- [11:12]
C
So I'm not repeating your message. Yeah, I think he went right after the last season, like the day after the show, which is a lesson for all of us, that the designer's work never ends.
- [11:21]
B
Yeah.
- [11:22]
C
You know, he's Rick recovering from spring and thinking about fall and. Yeah, the fun thing about that too, in addition to it being the place of that McQueen show, is that Dries did a show, I think it was back in 2009 at that lyce Carnot. And he had that same very long mirror that extended the Runway. So it was like you're seeing the double, you're seeing the back at the same time as the front. And that was really strong because one of his ideas was to pixelate these. Was it 16th century? Very, very old still lifes. From a distance, you could tell that they were flowers, but then as they got closer to you, they became very, very abstract on, like, the trenches and the dresses. And. Yeah, I agree. He's doing such a great job and he feels like such a. Such a natural fit. And I think that at a lot of these houses that have had turnover, we're seeing this sor. It feels like very first degree, like reproductions of things that came down the Runway 30 years ago. And with Julianne, it's like sort of in his blood. He worked for Dries for so long, it doesn't feel quite as literal. It feels more natural to me somehow.
- [12:39]
B
Well, he also talked about the bell, that when he went, the bell rang and hundreds of teenagers came out and that he was so struck by this sort of nostalgia, by that moment when you feel awkward, you feel uncomfortable and sort of a bit cringe and that clothes are so important in helping you muddle through that. And something we've all been talking about this week is designers sort of going back to their roots and nostalgia and coming back to these layers and layers of memories, Layers of clothes, obviously, from Prada, which was quite literally four layers of clothes, to Sarah Burden, which is talking about layers of references. And I think that that's been fun to see.
- [13:18]
D
To Gucci, where there were no layers
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A
at all, just one and a liar.
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D
Very tiny layer. But I have to say, like, I saw notes, some of the questions talking about accessories. And I have to say that I'm the Parisian in me love all the boots. I love these like thigh boots and knee high boots and even at Hermes. Like, you know, if we're talking about the context of the show, I think it's important to tell people, like, you know, we were sort of like walking through this, like sweaty, stinking moss. Yeah, it was what? Like sort of we're going to the countryside.
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B
Yeah.
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D
But the show, I call that.
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B
Is that what the peat is? You know, when they're always like, I'm in the Pete, I'm walking through the peat.
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A
That must be it.
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B
Yeah. Like, it's like this thick, mossy, like under. Undercarriage of the forest. I sort of loved it.
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A
Yeah, me too.
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B
But of course I put them on the spot. I was like, what are you doing with this afterwards? Are you replanting it?
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C
She's like, go away, it's biodegradable.
- [14:14]
A
Yeah, well, I mean, I saw unlike a plastic Runway.
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B
I mean, I have to say, driving around watching now the day after the shows, people breaking down these enormous box show venues is depressing.
- [14:27]
D
But I have to say that that is an important point because I remember last season, Anna saying, claire, you must speak to the Federation about, you know, like where all these shows are. They're far too far away. And, you know, this season I think has been better. But two outliers. Yeah, but like. Yeah, but Dior in the park of the Tuileries, overlooking the. One of the little lakes.
- [14:51]
A
You know, that set looked incredible. I wasn't there for that show, but I feel like I felt how impressive it was, even via social media.
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C
Were you sweating long distance too?
- [14:59]
B
Because you turned very hot.
- [15:02]
D
No, Nicole, I had to turn around. I was literally in the light magnified by the mirror or whatever it was. And so I just turned around and was like squatting with my back until the show actually started. And I saw Isabel that night at the Saw Isabella Jani that night, as you do. And she was like, Claire. I. I was like, isabel, did you like the show? And she said I was wearing a cape in Kashmir. And I was like, yeah.
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A
I mean. And who were your best dressed?
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D
Sorry, Who? Who.
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A
Who did you think was the best dressed of the night?
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D
Oh, that's a good question. Well, I was sitting next to Eva Herzegova, who looked beautiful. I don't know. There was a lot of people wearing, like wings and, like, strange looking things. Really go for it. Alex Consani look pretty good people.
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A
Alex just looks good in everything.
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D
Yeah.
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A
I just feel like, yeah, she commands a room.
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D
Yeah, she's a star. I was looking at Isabella Johnny, though, and I was like, wow. You know, I just was like, in awe of that woman.
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C
Yeah.
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A
Oh, my God. In movies, when I was a kid watching Isabella Janney, like, there's just no comparison. She's just like a star as well.
- [16:16]
B
But I did think that I was impressed with Dior, for example, of these sort of designers doing big hits, like, really going for it, especially at these houses that they have the resources for that. Same with, as Claire said, Celine. It felt like such a statement to be going just putting their stamp on Paris in a way that it almost felt like being part of the city. New York based designer Nick Auburn, who's the designer of Eric, was flying in at the moment of the Dior show, and he posted on Instagram a photo from the plane where you could see the Dior set from his flight coming into Charles de Gaulle.
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D
Oh, so. Oh, really?
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B
It's amazing.
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D
I was gonna say he flies private, obviously, if you can see.
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B
Definitely does not. And it was incredible. And he was. It's sort of exciting. Also from overhead, it kind of the set. And I don't know that this on purpose look like the CD logo, but yeah, so we like these big swings.
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A
Yeah.
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B
Okay.
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C
But then also we like the intimate moments. Alaia was really powerful. Peter Moulier's Goodbye because he, you know, the way they arranged the seats there was Space for standing room, which is not something you usually see at an Aliyah show. It's a very controlled environment. But I felt like. Like they invited all their friends. There were, you know, there were kids, and it was. It was a touching goodbye for a guy who has made a really big impact in five years at that brand.
- [17:48]
D
But I think he's just so classy that Peter. And, you know, he. I just think we talked about it during our global meeting. But, you know, like, including, you know, the team, photographs of the team, a book of the pictures of the people that he has been working with. Including them, you know, in the show. Watching the show, like, that's how you. How do you say, Create a brand in a way for me that has, like, a meaning and like, that you. You know, when you wear a piece of Alaia, you kind of. You feel like part of Peter's thing that he's created as much as Alaia was Azzedine Alaia. He's really succeeded, I think, in creating, like, this moment.
- [18:29]
A
Yeah.
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D
And I'm excited to see what he'll do at Versace. I think is going to be amazing. Me too.
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B
It was so charming to see Raph and Mathieu Blase sitting front row.
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A
Don't you think it's like a kind of a turning point when you think about the cult of personality that dominated before you had Karl. You had designers who really built their personal image, and it was never really about the team. And I think it feels like a modern way of leading. I think Matthieu very much does that too. You're seeing designers front row at the shows. There's much more of this sense of community, camaraderie. Yeah. And I think that. I think it's so important now, especially because we're in this, you know, global digital age that you obviously, you focus on the clothes, but you also have to communicate the way you work. There's much more transparency and understanding. The way that these houses work just brings a sense of soul to the work and emotion. And you feel much more connected knowing that because we're in this moment when everything can feel very cold, or in this digital moment where we all know AI is coming, but AI doesn't have a soul. And I think these designers who are building something new, they're showing us that they're doing it with intention, with empathy and kindness. And that feels very different to the. To the world of fashion. I knew when I entered, you know, 20 years ago, it's very different world.
- [19:51]
D
You know, like, even the theme of Vogue world This year is about, you know, craftsmanship. And I think that this generation of designers are really putting the spotlight on the ateliers and the people that they're working with. And I totally agree with you, Choma, that it brings like a value. And who would spend €12,000 for a coat? Like, it's just, you have to have to tell those stories as well to kind of. That's why things also have the value that they, that they have because of the craftsmanship that's been, that's been put into it.
- [20:25]
B
Yeah.
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D
And, you know, whether it is Chloe or whether it's, you know, Jean Paul Gaultier and. Or whatever brand you can. I really felt like from a styling point of view, for, for the issues that we're going to be working on, there's such a, like a variety. And that's exciting when everyone doesn't do the same thing. Yeah.
- [20:45]
A
I mean, I think when I think back to being a sort of teenage me, the styling of a show, the styling of was what really I could relate to and try and recreate. And I'm always thinking about how you put something together and how you present yourself. And that, to me, really came through. And I think that that's where people who perhaps can't afford the Celine bag or the Dior bar jacket can think, oh, perhaps I can try wearing a different trous, a silhouette. Or I can put things, I can make add personal jewelry to this look. Or I've been loving to see seeing all the editors wearing one collar outside and not having. Not everything being totally perfect, just totally intentional. Which I think may have started a while ago when Miu Miu started doing that kind of off kilter, slightly messy styling. And now I'm seeing it on the streets and street style. It's so interesting. But these things help and guide young people who are excited about fashion who can't access it any other way.
- [21:42]
D
One thing I will say is much to the dismay Hannah probably, but to my delight, there's a lot of black. So much black. So I don't know what that says about, about now, but it was really, I thought, quite the statement. I'm like, wow, again, everybody's got that memo. But I was going to say, because there's a question about any looks that you had your eye on. Collections.
- [22:08]
B
Let's hear.
- [22:09]
D
So I've made a list. It's quite long. Okay. Those sound smoking. I mean, I already have a few, but I definitely was like, okay, good. I'm gonna have another one from, from Milan, the Gucci Low Low slung trousers for sure. And that like little parka, the little green like parka. I was wondering if I could get away with it would be those little frou frou, like the skirt at Dior, you know, those kind of puffy skirts.
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A
So many mini skirts.
- [22:41]
D
But the jackets I love anyway. But the skirt, I was like, maybe
- [22:43]
B
I thought you could do it.
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D
I don't know because where was I? So I was at this show earlier yesterday, Magda Butram, and she was putting like these kind of puffy skirts with just like a roll neck, like a black roll neck. And I was like, maybe I could do that with like a flat pump the skin tight mini dresses at Alaia. I could do that. Maybe I was feeling if I'd done enough, I had done enough like crunches in the morning. So those were the things I would be buying.
- [23:12]
B
Clara, thank you so much for joining us. I'm so sorry Choma and I were late.
- [23:15]
A
You know me.
- [23:17]
D
It's not Chloe's fault.
- [23:18]
B
No, no. All right. Thank you, Claire. We can't wait.
- [23:21]
D
Thank you so much.
- [23:22]
B
We see you in that Alaia mini
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D
dress and the boots.
- [23:26]
A
See you.
- [23:27]
D
Bye.
- [23:29]
B
We are going to take a short break. We'll be back in a.
- [23:39]
A
This episode of the Run through is brought to you by Bumble. Okay, so you've set up your Bumble profile, you filled in your prompts and you've added your favorite pictures. But how do you make sure the people you're meeting are who they say they are? Bumble's profile verification features are super quick and easy to use and give you the confidence that the people you're meeting are as authentic as you. It's just an extra helping hand so that you can feel more comfortable getting that first date into the diary. So download Bumble and verify your profile today.
- [24:21]
B
I thought the row was really pretty. And the first half I was like, oh, this is beautiful and chic and great for their customers. And then the second half I was like, oh. They got allowed themselves to sort of get a little weird and. And do. Everything looked sort of half finished, but in a really elegant way. And it felt a bit like if Jane wrightsman turned into Ms. Havisham, it was sort of a fun devolution of their sort of perfect minimalist building block. I thought that was a nice intimate show experience.
- [24:51]
C
Yes. Our users will be pleased to know that five days later we finally got the pictures from. Oh my God. From the Row. They're live on the site now.
- [24:58]
D
Wow.
- [24:59]
B
Thrilling.
- [25:00]
C
We should talk about Anton and Tron's. Debut at Balman, with which he had his own line, atline for 10 years. And Vogue, you know, is a big supporter of him. He calls his designs Madame Gray, but make it a T shirt and you know, works a lot in jersey. And I thought it was a good beginning. He is a very talented designer and I think that, you know, Balman is suddenly a place to get like a very sophisticated cocktail dress or evening dress. But he needs to, you know, he needs to sort of let his freak flag fly a little bit more and be. And be bolder on the Runway.
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A
I agree. I love the Jersey dresses. I didn't love the location for him.
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C
No. I don't think it was the right location.
- [25:44]
A
No, no.
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D
And I, you know, Nicole and I
- [25:48]
B
got a delicious crepe around the corner afterward because it's right next to this sort of crepery street.
- [25:52]
A
Oh, is it? Oh, good to know. I'll explore that next time. But yeah, I just thought it didn't feel like the right venue for, for, for him or the brand. But I did like those jersey dresses were just gorgeous.
- [26:04]
B
I felt that way about McQueen as well. In terms of venue. I feel like 8pm on a Sunday at the tennis center. Sean's so cool and it would be so fun and dynamic for him to be showing in London with his community. That felt like maybe something they should be thinking more about. But I liked a lot of the pieces from McQueen Shoma and I went to see him the day before and it was fun to see them in the showroom. I liked those slip dresses. I loved that little like argyle, not Argyl, but Fair Isle Bomber with a bumpster.
- [26:38]
C
Will you wear the bumpster?
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A
I, I love that silhouette. I, I don't think I could pull it off. But I loved the, the sort of his version of the bumpster, which was almost down to.
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C
With a little.
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A
Almost dangerous sweetheart.
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C
It's not a sweetheart neckline.
- [26:52]
B
It's a sweet backline backline.
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A
I, I think, I think a lot of the women who wear his clothes are gonna really love those pants. Cause they're kind of just on the borderline of being dangerously revealing. But they're not. They're just.
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B
I'd say from the front I was like, ooh, Virginia Smith silhouette. And then from the back I was like.
- [27:16]
A
Because I think we haven't had anything as risque as that since. Very low slung. The very low slung trousers that we had in the early aughts. And obviously the bumps. The original bumpst was a really cool interpretation of the bumpster.
- [27:32]
C
Was Duran Lanting's second shot.
- [27:36]
A
Stronger.
- [27:37]
C
Jean Paul Gaultier. And definitely, I think he proved that he can do serious clothes too. Last year was sort of jokey with the naked body. Male naked body bodysuits, which were probably the most divisive thing on the Runway last season. You know, people really, really didn't like them.
- [28:01]
B
The Stella McCartney invite was obviously one of my favorites, and I'm very grateful to Nicole for giving me hers. So now I have one for both of my children. It was a My Little Pony, which someone was like, which generation? I was like, this is getting too deep into My Little Pony lore for me. I don't know what gen pony it was, but that was very cute. And then the Soul McCartney show was at the stable at the Bois de Boulogne, and I just really liked that the Vogue Runway write up was called A Knight to Remember because she got knighted that evening.
- [28:32]
A
Yeah. I mean, it was the Horse Whisperer.
- [28:36]
C
It's the same guy who did that horse performance several years ago at her show. And he's captivating to watch. Right?
- [28:43]
A
Gorgeous. I just thought I was completely captivated. I didn't see that. I didn't see the first show that he was involved with, so I was completely mesmerized by it. The performance of the horses. The venue was gorgeous. I'm sad I didn't get an invite, because one of my core memories is actually losing My Little Pony as a child. Oh, wow.
- [29:06]
D
But it was.
- [29:06]
A
It was really special. I do like it when designers bring in their hobbies, their passions. They integrate it into the show. It just brings a different layer and kind of invites you into their personality, their world in a way that's unexpected. And, yeah, it was a really cool. Really cool way to present clothes.
- [29:27]
B
And then that night, she was knighted by President Macron and felt very exciting. I want to know what fun dinners or parties you guys have gone to. Claire went to the Louvre dinner. My most exciting night was that my teenage nieces slept over and we had a really good time and ordered French fries, and they were thrilled. But also, there was a really fun Givenchy dinner. I sat next to Marissa Berenson, who put everyone to shame because Dara Allen across the table is talking about how she might go to Coachella for the first time. And Marissa was like, I don't go to music festivals anymore, not since Woodstock. And I was like, well, that'll do it. What else, Gemma? What have you done?
- [30:11]
A
I went to. I went to La Perouse. Alo did a dinner there, and it's quite iconic. A restaurant that he was once a brothel. It was once a brothel in the 1700s. And as the story goes, Amelia Gray told us the story that there are scratches on the mirror because the ladies of the night used to be given diamonds.
- [30:38]
B
And that was how they tested if they were real. Cause diamonds are so hard. But paste diamonds disintegrate on if you scratch them.
- [30:45]
A
So I thought that was.
- [30:46]
B
I got you looking.
- [30:47]
A
Yeah, I've been there a couple of times before. I had. I hadn't. Every time you go there, it's sort of a different experience because there were so many rooms and different tunnels and I hadn't been in this room. And I just thought every time I go there, it's a different experience. It's a really cool place. So I was reminded of that.
- [31:03]
B
That's a good point. And also speaking of like front row celeb sightings of the week, I'm very into this crazy season of industry. And Mahala was at the dinner and she also told me that they film industry in Cardiff in Wales, which I was shocked by. Which I guess Cardiff is like the new Atlanta of the uk. It's like very tax friend. Maybe I need some things get on that. But I thought that front row, the highlights were really different configurations of the Love Story cast. Either it was like Sarah Pigeon at Loewe. Naomi Watts and Grace Gummer at Balenciaga. Dre Hemingway and Paul Anthony Kelly at Dior. Like you really. That felt like the ubiquitous. He was.
- [31:46]
C
He was at Tom Ford too. And he was absolutely devastating in his Tom Ford. Tom Ford suit.
- [31:53]
A
Can you believe he almost.
- [31:54]
D
Almost.
- [31:55]
A
He was one of a thousand people to audition. He was a Macy's model and he almost. That was the last audition he was going to do before he moved back to Canada because he didn't. He was.
- [32:05]
B
We love these stories.
- [32:06]
A
Yeah. Isn't that cool? I've been watching Love Story every night. Basically going home to watch it.
- [32:11]
B
So I know Choma. And last night was like, I gotta go. We were.
- [32:15]
C
We were to hear there was a lookalike contest in New York.
- [32:20]
B
I'm so over lookalike contest. As we're all talking about every. Everyone like doing personal best and finding themselves. I'm like, just be yourself. It's so irritating to me.
- [32:28]
C
The footage of the. Of the guy wearing a trench and Rollerblades was. Was quite funny.
- [32:33]
B
Teen Vogue was very embedded at that. They really did some. Some good coverage. But yes, it looked very robustly attended.
- [32:42]
A
Speaking of Teen Vogue and Vivian Wilson,
- [32:46]
B
we love Vivian, she's friend of the pod. Also, she looked so fabulous at McQueen last night, and I cannot get over her hair. I think it might be because Alice and I are obsessed with Rapunzel right now, but it's just.
- [32:58]
A
I love long hair.
- [32:58]
B
Insane. Some hair care brand needs to sign her. You heard it here first.
- [33:04]
A
Yeah. Do you have any other break? My favorite breakout model of the season is Jackie Hooper. I love you.
- [33:10]
B
I just was saying that I want
- [33:11]
A
her for one of our stories.
- [33:15]
B
We love a Gap tooth.
- [33:16]
A
Yeah, we love a Gap tooth. And she's a Brit. She's from Southampton. Love, love, love, Jackie.
- [33:21]
B
And there was also. I thought Balenciaga and Givenchy had strong casting. It was some of the few. It was two of the few shows that had body diversity on the Runway. It's been a really tough season for that.
- [33:33]
C
I think Noor Khan, it's not her first season, but to me, she's really dominated the runways. Feels like she's either opening or closing every single show show.
- [33:43]
B
And I love, I have to say, I know that this is Taylor's toll as time, but I love seeing when the models actually have fun with it and are enjoying themselves. Like Alex Kani and Lulu Tenney posted a video yesterday of singing Only a Woman in the Car as like their last show as they were leaving. And it's, it's, it's charming. And after Hermes, because there's always so much traffic from Hermes, which is at the Guard national in the fourth, to all the way back, like in. To the center of the city. So I took the Metro and like there were like four models with their little Hermes gift bags just like chatting and so happy to be sort of jumping on the, you know, yellow line. It, it's, it's nice to see their evolutions because it's a tough. I mean, Alex and Sonny last season was describing like the schedule. I mean, you don't know if you're booked until the night before. You're in fittings until midnight. Your call time for like, you know, a 10:00am show is 7:00am it's very or earlier. I've heard earlier aggressive. The Run through will be back in a moment.
- [34:47]
A
This episode of the Run through is brought to you by Bumble. A picture tells a thousand words. But there's no need to stress over choosing the right ones for your profile. Whether you feel your best self submitting a picture of yourself on a mountain or all dressed up, Bumble's personalized tips will help you choose the pictures that show the real you. You Attracting people who get who you are right from the start. So download the app or refresh your bumble profile today.
- [35:21]
B
Welcome Sam Sussman, friend of the pod. What's been your highlight of the week earlier, tell us about the Seline boys.
- [35:28]
E
We there we saw so many boys at Dior, they're all in gray. At Celine, they had really, really cute ties on and they're all the boys are very cute themselves.
- [35:37]
A
So it's.
- [35:37]
E
It's extra thing to see before as you're going into the shows, the boys,
- [35:41]
C
what the boys do, Sam, they're handing
- [35:44]
E
you some fresh waters. They're ushers, they're helping you find your seat. But I my theme of the season is hot, hot, hot. In fact, not just boys, but the temperatures inside of the show.
- [35:56]
C
I know it is a very early spring here in Paris. Magnolias have sort of come and gone.
- [36:01]
B
I know we get allergy medicine. I've been seeing like Joseph Willow me. We've been like running into pharmacies to get antihistamines because it's never this blossoming. But yes, you're absolutely right. The show venues Seline was very warm. We've talked about Dior. Balenciaga was hot and airless. Oh, Nicole, do you want to tell us what the Balenciaga Euphoria?
- [36:27]
C
First of all, it was a total madhouse outside. I think they had gotten word that some Euphoria stars would be in the. In the crowd.
- [36:35]
A
Cannot wait for that show.
- [36:38]
C
April 12th or April 16th count the weeks of my OG euphoria fan. And Pierpolo Piccioli is also in his second season at Balenciaga and he is friends with Sam Levinson, the creator of Euphoria. And they decided to do a sort of impromptu hookup where some of the visuals from season three were on screen.
- [37:00]
A
So that's actually visuals from the show. I couldn't quite tell.
- [37:04]
C
Yes, because you haven't seen season three yet.
- [37:06]
B
So you're getting a little preview.
- [37:07]
D
Yes.
- [37:08]
E
Danielle Deadweiler in season three. Because she was there and she was in the visual.
- [37:13]
C
She must be.
- [37:13]
D
Yeah, she must.
- [37:14]
B
And ask questions we can answer. Sam.
- [37:21]
A
I'll look it up.
- [37:22]
C
And some of the clones had images from the series too, which probably will be quite popular with the Euphoria fans.
- [37:32]
A
Yeah. I always love the costume design of that show. Heidi Bevins, who's been a POD before. Oh, we have a friend of the pod. She does such a good job. So I'm excited. I'm excited for the fashion, I'm excited for the storylines. I'M very excited.
- [37:47]
C
I'm excited to go home and watch, like, a full weekend of tv. We've missed so much being in Paris and Milan for two weeks.
- [37:55]
E
So after this long marathon, everyone says, are you taking a break? And I say, we're heading to the Oscars.
- [38:00]
B
It is crazy. There are quite a few people who are taking, like, a Thursday or a Wednesday flight directly. Paris, la.
- [38:06]
A
Yeah. A lot of. Not my favorite flight.
- [38:08]
E
Some people are going to Rome to see Valentino, and then they're going to the Oscars course.
- [38:12]
A
Hamish Bowles is going to Rome, so.
- [38:15]
B
So, yeah, Sam will be on the ground. There's a lot of things happening. There's a Dior W party. There's a Chanel Charles Finch dinner that they always do. There's the CAA party. There's Armani party.
- [38:29]
E
There's another Dior beauty party actually happening tonight. So they're starting Oscar week early with Rihanna.
- [38:35]
B
We'd love that for that.
- [38:36]
D
Wow.
- [38:36]
B
And then, obviously, on Sunday, there's the Oscars and the Vanity Fair Oscar party in a new, new location, more intimate venue at lacma. So that's very exciting, and it's been fun to see all of the, like, dramatic evening wear and wondering who is going to wear what for the Oscars. So.
- [38:55]
A
Can't wait.
- [38:56]
B
I know. I've got.
- [38:56]
E
I've got some ideas, but we're gonna see.
- [39:04]
C
We met with Matthia on Sunday, and he read us a beautiful quote by from Coco Chanel where she talk about how women are caterpillars by day and butterflies by night. So the collection really evolves from, like, basic. Basic black suits in ribbed wool knit, which said was his favorite.
- [39:27]
D
The.
- [39:28]
C
The simplest thing.
- [39:29]
D
Yeah.
- [39:29]
C
And two incredibly extravagant, but still quite sort of relaxed and wearable pieces.
- [39:38]
B
Totally fantastical.
- [39:39]
C
Yes. In iridescent colors with just really exquisite embroideries. And.
- [39:48]
B
And I love that he said that Coco Chanel apparently once said, Chanel is fiction and function. And you really see that. And, I mean, it's quite literal in some ways. The way the first chapter of the show is caterpillar. It's day wear, things you can wear whatever you need throughout the day. And then it sort of transitions to the moth, which you see these beautiful prints that look like moth wings, which unfortunately, I'm very familiar with from my closet, and then transitions into butterflies, which is the most beautiful sort of celadon. Iridescent celadon and everything from, you know, dragonfly earrings to also, again, lily pads, which. It's interesting to see how designers share References without even realizing because obviously Dior was very lily pad based.
- [40:38]
A
I wonder what it means for the set. Is this. Are we going to be walking into a.
- [40:42]
B
We can tell you the invite.
- [40:43]
A
Yeah.
- [40:44]
D
Oh, yeah.
- [40:44]
B
What was the invite?
- [40:45]
E
The invite was a tape or like a measure. Ruler.
- [40:48]
A
Sorry, a ruler.
- [40:49]
B
Yeah, the invitation was a fold out ruler, which. That was very pretty. So maybe that's like the caterpillar coming out into her butterfly if you extend her.
- [41:01]
A
But that's a stretch.
- [41:02]
E
So what's the set?
- [41:03]
D
Yeah, what's the set?
- [41:04]
B
The set was inspired by Monet's water lilies, but actually as Anna said, looks like your Legos. Chloe, like the.
- [41:11]
E
The Dior one?
- [41:12]
B
No, Chanel.
- [41:12]
A
Oh, Chanel.
- [41:13]
E
Oh. So water.
- [41:13]
D
Oh.
- [41:14]
A
Oh, okay.
- [41:14]
B
Yeah. It's also Monet inspired or sort of has an impressionist base, but doesn't look like that at all. It's neon scaffolding.
- [41:22]
A
Oh, nice. So did you see pictures?
- [41:24]
B
Yeah, we saw a picture of the neon scaffolding and it's sort of an iridescent. Almost looks like an oil spill. Iridescent oil spill floor.
- [41:32]
A
Fabulous. My March cover star, Bodita Mandava has just been announced as a house ambassador, so. So I'm sure she'll either open or close Chanel. I'm super excited to see her.
- [41:44]
B
All right, thank you, guys. Happy Chanel Day to you. Happy to celebrate. The run through is produced by chelsea daniel, alex depalma and alex john burns. This episode is mixed by pran vandy foreign.
- [42:14]
A
This episode of the Run through is brought to you by Bumble. Okay, so you've set up your Bumble profile, you filled in your prompts and you've added your favorite pictures. But how do you make sure the people you're meeting are who they say they are? Bumble's profile verification features are super quick and easy to use and give you the confidence that the people you're meeting are as authentic and as you. It's just an extra helping hand so that you can feel more comfortable getting that first date into the diary. So download Bumble and verify your profile today from prx.