Right About Now with Ryan Alford - You Might Also Like: The Run-Through with Vogue

Episode Date: December 20, 2024

Introducing Vogue Editors on Chanel’s New Artistic Director Matthieu Blazy from The Run-Through with Vogue.Follow the show: The Run-Through with Vogue After months of speculation and anticipation, Chanel has officially announced its new artistic director: Matthieu Blazy, the former creative director of Bottega Veneta. In today’s episode, Nicole is joined by Vogue editors Mark Holgate, Laia Garcia-Furtado, and Jose Criales Unzueta to discuss the exciting news. Together, they explore why Matthieu is the right fit for the role and what his appointment means for the brand’s future. The group also shares their thoughts on Louise Trotter taking the reins at Bottega Veneta. Learn about your ad choices: dovetail.prx.org/ad-choices DISCLAIMER: Please note, this is an independent podcast episode not affiliated with, endorsed by, or produced in conjunction with the host podcast feed or any of its media entities. The views and opinions expressed in this episode are solely those of the creators and guests. For any concerns, please reach out to [e-mail].

I'm Chloe Mell. And I'm Chaminade. And we have some exciting news to share. We want to hear from you. Do you have a question that you've always wanted to ask a Vogue editor or a co-host of the run through? Maybe you want to know where to shop for good jeans. Or a question I'm asked all the time is, can you really borrow clothes from the Vogue closet? No.

Or you would be good at this question about throwing a party and hosting a party. I think you're such a good host. Oh, well, thank you so much. See, you can ask us anything. Please send an email to therunthroughatvogue.com and if we like your question, we just might answer it on the podcast in the next few weeks. I don't know if it's about anything, but maybe. Well, they can write anything.

They can write anything. We just won't like it. This is The Runthrough. I'm Nicole Phelps. It's been a very busy week in fashion. First, Reece Van Noten announced a successor on Monday, and on Wednesday, John Galliano stepped down at Maison Margiela. But today was the day. The news that we have been anticipating for weeks, months came.

Mathieu Blaisie left Bottega Vanada and he was appointed at Chanel, the new artistic director, starting in 2025. This is major, major news for the fashion world. Also today, Bottega Vanada announced that Louise Trotter of Carvin will replace Blazzi. So we have a lot to discuss. I am in the studio with my colleagues Mark Holgate. Hello. Laia Garcia-Furtado. Hola. And Jose Criales-Onsueta. What's up divas? Okay, so the first thing we have to do is put it into context. Why is this the fashion story, the fashion appointment of the year?

So I think the best way to sort of contextualize this is when Karl Lagerfeld took the Chanel job in the late 80s, he basically revolutionized the way Chanel was perceived, but also the luxury fashion operator, right? In a sense, he really helped create the pyramid of luxury fashion today, where you sort of have couture at the top, then you have ready to wear, then you have accessories, then you have beauty and event,

and that's kind of how our system now operates. That's basically how everyone sells things, right? So that's part of it. But also it's because he spent so long at Chanel that basically what he turned that job into was not just the job everyone wanted to, but also the job you would graduate into, right? That's the crown jewel.

That is like, it's like tenure, right? That's the job everybody wants. It's also really interesting because, you know, the president of Chanel fashion, Bruno Pavlovsky said in an interview earlier this year, that Chanel has no option than to lead, right? To me, that quote is like really tantalizing because Chanel has no option than to lead. It helps sort of show the direction of the wind in fashion. So that's why everyone's just like, who is going to be this person?

Right? It's crazy. So many names were mentioned. So many names. I mean, no, it just, it just, you literally, it was, you know, every single designer and non-designers. I mean, I love the idea of Sofia Coppola, an amazing director. It was incredible just to see the way that, you know, it captured the imagination. It captured not just the imagination of all of us sitting around this table who are in the industry,

but I think it becomes a bigger question. Who is going to be the creative director? Sorry, my apologies. Artistic director of Chanel. Artistic director of fashion activities, Mark, please. Please, I need to get the correct verbiage down. But, Métio was not necessarily in those early rounds of discussions. You've always got a bet on the dark horse.

You've always got a bet on the dark horse. We hadn't thought about him, I feel like, at all, because he's doing so well at Bottega. Exactly. It just seemed... You think of people who are like... who don't have a job, you think of people who have been somewhere for a long time and are ready for an upgrade.

I think those are the names that everybody sort of gravitated to begin with. And Mateo was not one of them because, I mean, we all love him, we all love his botagan. We were like, well, that's working great. No need to interrupt that. And then I feel like when somebody finally mentioned it, like when the rumor mill,

cause the rumor mill also, there were many other names that we had all also like did the acrobatics, like Jose likes to say to be like, oh yeah, that makes sense. And then the mature rumors started and we were like, actually we see the vision. And we really did. I think what's really interesting about this too is that, as Laia said, when a job becomes open, you first go to the free agents, right?

Like, who could take this job right now in theory, right? But above that as well, like, again, historically going back to Karl, he had also over the course of his career kind of like almost but not quite selected a successor, right? And he first did it, I think, with Haider Ackerman, you know, in an interview, he sort of like threw out a quote that was like, oh, you know, Haider would be great. And then he sort of like shifted that direction.

And then, you know, Carl famously loved Eddie Zingman's work for Dior Om. He lost a lot of weight to fit into his tailoring, right? So then people thought he was going to be the one. And then earlier this year, he left Celine. Michael Ryder has joined Celine, and that is very exciting. So a lot of people thought it was going to be him, right? So there's also a lot of historic speculation, if you will, to throw into the mix. It's just, but as Mark says, basically every designer you can name

either nominated themselves or was nominated by someone to take over this job. There's also the fact that it was, Chanel was unchanging for decades. I think that's the thing too. We're so used to a designer last 10 years or so something like that, and then they move on. And that's such a really good, really long run these days.

I mean, sometimes you've seen that people last two or three years for someone to be what Chanel for four or five decades I mean it's it's both to your point it's the the most revered and wanted and lusted after job in fashion because of the iconicity of the house of Chanel but also in some ways I think because of its rarity. It's a kind of unimaginable dream, I think, for most designers to get that job. It's a job you cannot get.

Yeah, well, you can if you're Mathieu Blazing. Period! He has a lot of fans here at Vogue, Mathieu. He's hugely talented. He is also a very kind guy and a great person to talk to. I mean, a really good interview. I think that's it, Nicole. also a very kind guy and a great person to talk to. I mean, a really good interview. I think that's it, Nicole. I think he can creatively lead,

but he also, I think he leads beautifully as a human being. I know that sounds so kind of woo woo and everything else, but he really does. I mean, we've all known him many, many years. I mean, I first met him when he was doing Marjela Artisanal and he got famously outed by Suzy Menkes because they were trying to keep it quiet and not let anyone know who was actually designing the Margiela Artisanal collection, which I think

you and I both went to see back in the day in Paris, what was it, 10, 12, 15 years ago. The shows were amazing and it was only, I don't know, a dozen, 15 looks, beautifully executed, intriguingly executed, a dozen, 15 looks, beautifully executed, intriguingly executed, a lot of upcycling of old antique vintage materials, which he actually told me he was getting from his father, who's an antique dealer. So he was basically taking bales of fabric and things from his dad and then just like turning them into these incredible kind of highly conceptual, highly beautiful pieces. But, you know, he is just a kind of, you know, it's the talent and also the ability to be someone who is in today's world and understands the nuances and emotions and the way to be

a public person, you know, I think is also really important. I think what's interesting about what you're saying right now, Mark, and in general, I think every time a job in fashion opens up, I think it's really important to contextualize what the job is. I always think it's really interesting because the public and a lot of fashion people and a lot of fashion fans, the first thing they do is dream cast a job based on their aesthetic preference. I would love TK designer that I really adore go to this job because their work is great.

But these jobs have very specific responsibilities and duties, right? Like working at Chanel is doing a very specific thing and you have to think of who's the right person for this for the specific job. And it's interesting because all of those things that you both have just said, Mark and Nicole, we like I ended up putting into a book business article because I was thinking about this, like this guy really is the perfect person for this job. And we kind of just need to say this, right? Because again, he is the perfect interview. Like people love to speak to him. There's so much goodwill around him. So you know that like whenever

his debut collection happens, everyone's just going to be excited, right? And you want to start off that way. You don't want to start with an eyebrow eraser. So all of these things become really important when you're hiring for this job. More so than, of course, the aesthetic and the design skill is really important, but you also want to tick off all of these other boxes. It's still also a corporate job.

You know, you're hiring as a corporation. It's like being a president. It's what... Lyanna says, walk with me, walk with me. It's like being a president when that title held a sort of different... Connotation. Connotation, perhaps, where, you know, it's somebody that you really like... It's like you lead by example.

It's not only their creativity. Like Chanel is like, you know, it's like you lead by example, it's not only their creativity, like Chanel is like, it's like an insanely global company. You have to be a lot of things to a lot of people, and you have to get all of those things right pretty much all the time. So I think there's also the kind of thing where like, mentally, I think it's also a big part of the job. If you can be level-headed,

all of those things factor in, just the same way I guess they would do any other job, but I think there's more than just the creative aspect for a job like this. 100%. Okay, we're gonna take a quick break. I'm Nomi Fry. I'm Vincent Cunningham.

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New episodes drop every Thursday. Follow wherever you get your podcasts. And we're back. Well, we haven't talked about bags, which are an integral part of both Bottega, Veneta, and Chanel. So I'm curious if you think he'll have sort of free reign, free license. There's such an identifiable Chanel bag, and yet he was so creative and inventive with the bags at Bottega. Well, I think he just, he loves craftsmanship. I mean, he loves the make, he loves the artisans. I mean, I think he's someone who's really happy, you know, elbow deep in leather, which

sounds like a terrible way to say it. For want of a better phrase. I mean, I think he's actually someone who really, really is a maker. He's a designer and a thinker, and he's also a maker. And I think for him, that's going to be a really exciting thing. I mean, there's just been so much, I mean, I think for all of us watching his Bottega, it's been really, you know, the kind of level of inventiveness and thoughtfulness and humor. I think sometimes we forget the humor as well. I mean, the idea of a, you know, a singlet in a pair of jeans, but actually the leather or whatever, you know, whatever.

He kind of is good at a kind of wink wig nod in a very arch and funny and smart way. So I'm kind of, I don't know, get those wait lists fired up already. I would pay money to just like follow him when he like visits all of the Matthieu's. And when he goes to like, you know, the Feather Atelier and the pleading one. Here's, I was gonna say, here's a free idea. Dior and I, but for Matthieu I should know. I mean, because you know, like, he's, you know, I think another thing about Matthieu is that he's a nerd about these kinds of things. Like, you know he's just gonna be in there and he going to be like, and I would love to also be there. Period. She said, I'll film it.

I will film it. Get the iPhone out. And a lucky guy he is because he gets to do Couture for the first time. He does. And that, yeah, I mean, I'm so excited about that. I mean, salivating. Yeah. Could you imagine? That's going to be fabulous.

But I think I want to go back to your point about the bag, Nicole, for just one second. I think what's really interesting is that Chanel has iconic pieces, right? Has like the flat, has like the shoulder bag, you know, the quilted black shoulder bag, has all of these iconic pieces that are IT products in themselves, but they're not IT bags or IT shoes in the way we know them now, right? Like how volatile fashion is. But something Matthew does is create it products. So I'm really curious as to where that's going to go. Like what, you know, of course, the tried and true are going to be there and those are going to be great. His take on them are going to be great. But I'm also curious to your point,, like, what does a Chanel eat back to they look like?

Right. Because I think there is a small group of people in the industry who are maybe a little skeptical about this appointment because he is such a conceptual, free-thinking designer, and yet he's going to a house that has a lot of rigor in terms of its codes. They're very well-defined. And so negotiating that will be, it'll be really exciting for all of us to watch how he deals with that, I think. I think sometimes really creative people thrive under rules in the sense,

like when you have freedom to do whatever, like that's great, but when you have parameters to do to express your free like that to express your creativity through that clicks open a different window like not to compare myself or what writers do with that. But it's a kind of way of how you work, like you work better under deadlines. You think you have three weeks to do something, and you're like, yeah, I have an idea.

And then, you know, two nights before you sit down, the night before you sit down, and suddenly like things come out better. Now I'm not saying, it's the same thing, but I feel like I could see Mattia being excited about the challenge in that way, where it's like he's had, you know, four years? To do whatever his heart desires,

and how, and he's tasted this freedom, and now how he's gonna bring, like I think that's, like I think as a designer, that's an exciting challenge. And it's just like, you, you know, it's a famous sort of art saying, right? It's like, you have to know the rules in order to be able to break them. And you also have to pick and choose which ones to break,

right, and that was a success of like, Amatiz or Picasso, right? Like, again, different contexts, but I do think it's really interesting to consider, you know, he's clearly aware of what these codes are, we all are, and it's really exciting to be able to say which ones you can break, which ones you uplift, and again, what's that negotiation like?

Knowing him as well as we all do, what do you think is on his to-do list? What do you imagine, you know, put ourselves in his mind? What does he want to do first? I bet he's been doodling a lot of double Cs in the last few weeks. Subconsciously, because double Cs. I feel like there is going to be an incredible, like, little suit. I feel like every designer has imagined like if I was going to do you know the classic Chanel suit what how would I do it? And so many have done it

like so many have auditioned over the years. Indeed. Like I've joked about this in the past. I'm like why do we would you know pull out every single designer's audition for Chanel to just put them all together. I don't know, it is an interesting exercise because it does happen. One day we're gonna start an OnlyFans, but it's just these kinds of articles that we can't actually write.

But I've also loved the way Bottega, he's had those forays into furniture design, into the kind of broader culture, which also to me feels very Chanel. And it really also feels very French. Like the recognition of fashion as part of the kind of cultural language of the country, of course, but also the world today.

I'm kind of fascinated by what he's going to do with that. The broader palette he will have because Chanel, yeah, it's the art world because Chanel, yeah, it's the art world, the design world, it's the movie world, it's all sorts of other things, it's the literary world. I mean, it's something where he'll have a lot of touch points and I think that's going to be really interesting to see who he brings in and who he supports and who he, you know, lionizes.

Yeah, exactly. I'm also fascinated about the menswear of it all. You know, Chanel famously and historically does not have menswear. And Karl used to sort of throw a couple menswear looks into some of his shows here and there. Famously, Pharrell used to wear a lot of Chanel before he went to Vuitton, right? We know that at Bottega, Matthew has Aesop Rocky, has Jacob Lourdes, some people who are really some of the best dressers in terms of celebrities at the moment, right? And they are men.

You know, the Andiamo bag at Bottega became an in-bag because, partly because Jacob Elordi was carrying it, right? So I'm really fascinated by what that's also going to look like. Right. Lyah and Jose, you both wrote a piece for the site today where you really dug into some of the very thoughtful and inspired things that Matthea did at Bottega. And I want you to talk a little bit about those. And I'm excited because, you know, think of, you know, think of all of those ideas sort

of times a hundred and that's sort of what it feels like the possibilities are for him at Chanel. So one of my favorite memories of Metio's time at Bottega was the Strand Dinner, where he invited a small group of people to the Rare Book Room room and there was a dinner. And, you know, he told a great story about how much time he spent in the Strand, both early on as a kid and then when he was working in New York at Calvin Klein with Raph Simmons and Peter Moullier and the funny story where he once fell asleep in the bookstore. And you know, alongside that, he made a very cool tote bag that was sort of a grail for me that, you know, I never got a leather tote bag with the Strand logo.

But what are some other things that you sort of, that he did that, you know, you feel that way, that wow, the potential for Chanel is so big? Perverse venality. My favorite quote of his, again, he is a really good, he just knows how to give you a sound bite. And you know, as writers, like that's, that's really what you want. You want the one sound bite that is going to allow you to write about someone's work, about someone's collection, about someone's sort of ethos. And perverse venality is something that the way he described to Unicol in his second runway show about his famous Trompe-Loi leather pieces, right, that were, as Marc was saying, like the tank top, the jeans, the plaid shirt. And I'm fascinated about, you know, how that concept can translate into, again, the Chanel icons, right, these things that we know so well that are so fun to play with. And again, he has this almost like mischievousness, right? He has this kind of very playful, which is

another one, hand that I think will be really exciting. What about you, Lya? Yeah, I think after we came up with what, 12-ish? 13. what, 12-ish, 13 things. And I mean, one of my favorites is, of course, that he is such a lover of print magazines. And he helped bring back Butt Magazine, the iconic queer magazine. And he also helped like other sort of young people and collectives to start,

you know, to help fund their magazines, which I think is really cool. But I think my favorite, like the takeaway from our deep dive, I think is that he's really just so driven by curiosity about the world and he's just always down, like he's down to clown. I feel like he's just, he's like that that seems cool What's that like? I think he's very unpretentious and I think that that's also something that

Come like comes off from it because I think you know, you could be like, oh, yeah, like I love books Here's a dinner at the Strand Like because I'm so well read and blah blah, but like that's not the vibe that he brings at all Right, you're like, oh, yeah, this is this is your world this is and and I think that curiosity and You know, he's I feel like there is a sense that he won't turn things down in a way He's like you give an idea. He's like, okay, let's see what's up with this and that, you know, and I think that openness is The thing that I will

Remember about his time at Bottega, and I'm most excited to see at Chanel. Yeah. Do you have a favorite moment, Marc? For Bottega? Oh my goodness. I think seeing that first show that he did in Milan. We were all in masks still. Yes.

So that's crazy. And it was really just the energy in the room was kind of incredible. And that was a difficult moment and a difficult time. I don't mean for him at the house. I mean just generally at that time, culturally, historically, it was, as you said, we were still deep in the kind of pandemic, the reverberations of the pandemic.

But it was just, I thought, kind of magical and so exciting. And also that moment, again, not to sound horribly cliched, but to sound horribly cliched, you're like, wow, it's really like this is a major designer that's just emerged. It's kind of incredible. Yes, he's one of the few that can create that kind of atmosphere where you feel like you are at the pulsing heart of

fashion and you get it a few times a year and definitely he can bring that. More on Mathieu Blasy at Chanel after the break. Ready to add a touch of Vogue to your collection? Browse shop.vogue.com for exclusive merch like limited edition mugs. And here's a treat, get an exclusive 15% discount with code VoguePod15 at checkout. Happy shopping. Well, we shouldn't leave Luis Trotter out of this conversation.

She is replacing him at Bottega Veneta. So excited. I am so excited for this. I was going to say, I want to preface with this. For weeks, Mark has been talking about his love for Louise Trotter. I do love Louise Trotter. Which we love, we are all fans. It's again, in a weird way, she's very similar to Mathieu. She's someone who keeps it real.

She's got a great sense of humor. She's super talented. She's lived her life. She's been at the front of a house. She's been behind the scenes, and she's talented. I keep coming back, and she's talented. And yeah, I mean, it's true. Every time I would come down to your end of the office, and there was all those rumors about Mathieu leaving Bottega that we saw in the press and online Instagram and everything. And I was like, well, I hope they're going to give it to Liberty's Trotters. I hope they're going to give it to Liberty's Trotters. I kid you not, literally every single time, every time Mark out of her dinner,

he didn't need to say something. Exactly. And then this morning, we were all in Nicole's office and I just knew, I should have done a countdown. I just knew it. In the back of my head, I was like, three, two, one, and in goes Mark. It's a great day, isn't it? I have to say, I think it's great. And also, I would applaud

Kering for appointing a woman who is a certain age with a vast amount of experience, a vast amount of lived experience. As I said, super talented. I just think that's a really kind of wonderful affirmation. Both these appointments actually are to me a really wonderful affirmation of talent and an ability to make clothes and say really interesting things about clothes. And I feel the same way about Sarah Burton at Givenchy and Hader Ackerman at Tom Ford. I feel the same way. It's like the triumph of people who can really make clothes and are smart about them. And that is a great thing. And you have a special anecdote that we can't leave out.

Well, it's a kind of anecdote. Well, kind of-ish. I mean, no. I mean, Louise and I have known each other for a long time. We weren't friends at college, but we were at Newcastle Polytechnic, the glamorously named Newcastle Polytechnic. Shout out Newcastle Polytechnic. Yeah, which is now actually, they rebranded it

because even they were like, the name sounds terrible. So it became the University of Northumbria, which is in the north of England, in the town of Newcastle. And we were there in the very, very, very late 80s. So I'm going to be giving my age away here. But we were, she was studying fashion and I was studying art history. And yeah, we kind of had similar friends

and moved in the same orbit, but it was a small, it's a very kind of small city. And I think probably we were on the same dance floor together at various club nights in Newcastle back in the day. But it's been- Mark has also lived a life by the way. Yeah, no, but it was, I don't know. I just think, I just applaud her for, you know, getting

this great job because she's a great person, a great talent. Well, you, Mark, commissioned Julia Hobbs, our colleague at British Vogue, for a story in Vogue magazine earlier this year about Louise Trotter. Yes, about Louise Trotter for carbon. And I'm going to read this quote because this is my favorite fashion quote of the whole year and I think it's something that designers around the world, and I've said this before, but everyone can learn from this quote, as a designer you have to remain part of society. How do you feel the world if you're not in the middle of it?

And I just love that. I love that. I think that it entirely explains her ethos and I think that's why she's perfect for Bottega Veneta. I mean I think it applies, it's really interesting. I was you know I was I was in Hong Kong over Thanksgiving break. I went for a conference and I was walking with one of my friends who's an editor at a different magazine. We were we we were early for lunch with another friend and we're just walking around a mall, right? And we were really something that we brought up is that some clothes really don't feel rooted in the real world at all.

Right. And some really, really do. And like we had just actually left Bottega, the Bottega store and we're like, oh, like this is, these are clothes. Like these are clothes you wear, like people dress this way. Like, and that is really what it's like. And I think also as ourselves, as editors and, like, we, our job is to be outside, our job is to talk to people, to see what people are wearing, to see what they want, what they could want, and for designers,

it's the same thing, right? Like, you can't, you, fashion is about culture, it's like anthropology, you can't do it with, without living in the real world. That was one of the things that I really loved about Mattias' collections is, you know, he always talked about how he liked people watching and the characters in the city and in every collection, you know, in the last collection there were those like crazy like leather Tina Turner wigs in multicolor but there was there would also be like a guy in a suit and one of the one of the things that he called out was like, you know, this character

was a man in a suit and he's carrying this like pink and purple backpack because he's just picked up his daughter from school or is going to drop. And it was always like among the sort of fantastical like fashion dreams that you're like, oh my God, like look at this leather moving or look at this. There were always just like a woman in a suit, a woman in a little denim skirt carrying like a paper bag made of leather. But you know, like it always seemed like a mix of people with places to go and things to do and like real people mixed in with the fantasy. And I think also the way that he staged his shows where it wasn't just like long line woman, you know, people walk up and down and everybody was, you know, they were held in this big hall and people were just like crisscrossing.

And I feel like that also really adds to like when he says, oh, I love people watching, I'm inspired by the people in the city and you believe it because that's also what yeah He's showing you and I think you know again sort of going off of that I think to me the mark of a good designer is someone who can inspire people To dress a certain way without buying into a brand You know who people who show you you should carry your bag a different way People who tell you that you know, it's fine. If your jacket is a little big, actually it's great. That your pants should be a little too wide. That maybe they should pull more than like one break at the crea- you know what I mean? Like these things are important. I think it's something that, for instance, Mucha Prada has done, right? She sort of like inspires, she inspired a generation to crop off their skirts, right?

Like it's a really interesting thing. And then Matthew also does really well. And I think that Luis is also going to, already does, I love their work at La Coste. But I'm fascinated to think of like what Matthew is going to do to the Grand Palais. What are those show sets going to look like? I got to go to Paris. Big is moving to Paris. We had somebody done that meme already? I'm sure. I'm sure. We got to look that meme already? I'm sure.

I'm sure. We gotta look it up. You know what I mean? It's just, I wonder what his show sets are gonna look like. Well, countdown is on. Oh my god. It certainly is. Does anybody have any other closing thoughts?

I just want to point out that you were like, it's been a long week, but it's only Wednesday. Much like the 30 Rock meme. I know. It's like, my psoriasis is, but it's only Wednesday. Much like a 30-rock week. My psoriasis is back. It's all over my neck. I'm dying here. Can I tell you? I was chatting to Virginia Smith,

a colleague Virginia Smith in the corridor. She said, every time I go to the bathroom and I come back, someone else has got a new job. It was really funny. Our colleagues from Virginia seemed like Miles, who's a fashion director at Matty Fair. Ande Fair, and, um, GQ was like, Vogue Room is busy. Like, I was like, Diva, not now.

And he was like, what else are we breaking today? I was like, shut up. That might be it. That might be it for 2024. Diva down. I need a break. Yeah, give us a holiday. Yeah, Diva's on holiday. Diva's on ice need a break. Give us a holiday. Yeah, divas on holiday. Divas on ice.

Yeah, coming up next. Thank you all. Thank you, Mark, Maya and Jose. This is so fun as always. That's it for the run through. See you Tuesday. The run through is produced by Chelsea Daniel, Alex DePalma, and Joanna Solotara. It's engineered by Jake Loomis and James Yost. It is mixed by Mike Kutchman. Stephanie Kariuki is our

executive producer and Chris Bannon is Conde Nast's head of global audio. Hi everyone, it's Chloe, and I'm so excited to share something fabulous with you, Vogue's first ever global fashion community, Vogue Club. Our members get to mingle with Vogue editors, yes, including me, and fellow fashion enthusiasts at exclusive events around the world. And that's just the start. Membership opens doors to the fashion industry, bringing you expert career advice and insider

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