Galliano’s Gala

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2:46Hello and welcome to Fashion People. I'm Lauren Sherman, writer of Puck's Fashion and Beauty Memo Line Sheet. And today with me on the show is Dora Fung, editor-in-chief of 10 Magazine USA. We're talking Galliano at the Met, Celine Dion's style, the business of high jewelry, and so much more.

3:07Happy Tuesday, everyone. Hope you had a great week. This week on Line Sheet, I get into the boring not calm mystery. It's quite fascinating. Malik also has some notes on J.Crew and we've got plenty of other little fun scoops and things. Gonna keep it short today because I don't know, you're all on vacation. Enjoy your time on your boat in Greece because who isn't in Greece right now? Dora Fung, welcome to Fashion People. Hello, Lauren Sherman. Very glad to be in Fashion People. Long time coming. Ultimate fashion person. Oh, I don't know about that. Let me write you that check afterwards. So one of the things I wanted to talk to you about, it's a little late for this, but you are the thing that I've been so I've known you for a long time.

3:54But the thing I've been so impressed since you became editor in chief of 10 in the US is your ability to like, You do great editorial. You really love fashion. You also understand the modern editor's role. And I feel like you really pound the pavement with brands and develop those relationships in a way that I don't know many other editors who do. And it's super genuine. One of the things that you do that I love is that there are these high jewelry press trips. that very few people get invited on. Yes, and I'm very lucky. You go on them. And this is a thing like, I mean, most of the people listening to this work in the industry are adjacent, but I got an email on Friday from someone who listened to the Michael Grimbom episode who's just like a big fan of magazines.

4:49But the thing that I've always found interesting, I mean, there are a million things, but high jewelry, jewelry, those spreads in magazines are some of the most profitable and also the hardest to kind of get right because it's hard to be creative just like putting a necklace on someone or whatever. So I always look at those and you have worked really hard to develop those relationships. And part of that process leading up to a shoot is going on these high jewelry press strips. What did you do this summer? What did you go on? Shall I tell you what I started? Please. I started in Venice with Dior.

5:27and we um i mean these things are so out of the world and you know these trips are some people's trip of a lifetime and you know we do two or three of them a season so that in itself is so mind-boggling to me i mean if you said to 16 year old me this is what you'd be doing for a living i'd be like you what crack are you smoking who has a job like that did you just make that up but um yeah i started in venice with dior and what happens is they treat you almost like you're the client. I always think that we're the guinea pigs. So there's no one more entitled and more more brattish than an editor who goes on these trips and suddenly we're like, my room's not ready.

6:08It's like 11 o 'clock. And it's like, oh my God, they didn't get us a spa appointment. But jewelry trips are very, very special because you go, you know, you get picked up, you get on the most exquisite flight. And, you know, you choose the flight that you want to go on. And, you know, you get there very comfortably to these insane locations, stay at this incredible hotel. And then you are given, you know, a seat on a table where you see first hand these very, very select group of people in the world that gets to see this and buy it. But, you know, we just get to witness it. So you're with the clients too, right?

6:48Not all the time. Not always, okay. Yeah, because we always, I think, you know, with some brands, they like to have us come a week before and then the clients will come the following week. Okay, nice. Yeah. I went to the Hermes high jewelry dinner, high costume jewelry. Right. They call it. Yeah, it's probably still. It's still over a mil. There's stuff that's like a mil five or whatever. Oh, yeah. High costume. It was a mix. There were lots of clients. So you went to Dior in Venice. Did they take you to the Biennale and all that too? Yes. So you have a whole day of cultural offerings. So you really do get to see what happens in that city.

7:31So it was during the Biennale. So we did that and then we went to the Dries Foundation. You serve the most incredible meal at a surrounding that sometimes you will never ever get access to. You know, you would have been to, you know, even Tiffany. Tiffany now has their high jewelry in New York because they have that beautiful store that they renovated. And, you know, we have, you know, I've had dinner inside the Met. And this time it was in the Armory. And then they transformed it into a magic garden. It was incredible. And then just when you thought it couldn't get any better, Mariah Carey comes out and perform.

8:10That was a mix with clients. Oh, my God. No, it was literally, I think, 350 people. Actually, I don't care at all about the musical performance, no matter how I'm like, I have to leave. But Mariah Carey, I would die. And it was like 350 people. It was like she was doing a special concert for, you know, it was just so special. And, you know, with these trips and these kind of events, yeah, you really do get so spoiled. And you see, and you have to because it's luxury. And certain brands, they really go out and they, you know, they really understand the concept of it. And then so by the time the client gets there, it is perfection.

8:46You know, Chanel, when we did it with, when I went to Kyoto with them, it was unbelievable. There was not one thing that they hadn't thought of. You know, every meal was carefully curated. Every event was carefully curated. Started with Venice. And then where else did I go to? Venice. And then I went to, went Van Cleve. a boat with chanel where was that last summer no chanel was was there a boat i can't remember no there wasn't a boat chanel was on a boat at some point to kioto i was on a gondola probably that's true it probably was dior gondola yeah it was there and then i went to paris and then Vienna with Van Cleef.

9:34Amazing. Yeah and that was spectacular because it was at we went to Paris to see the Fascinating Egypt that whole collection they didn't do a high jewelry last year. It's amazing this collection's so gorgeous I went to see it. It blew my mind how good it was and they it took two years for it to you know for them to design each piece and it was so special so we went to paris and then we flew on you know a private plane to um vienna to have dinner and then to see some like the most incredible you know archival pieces from van cleve and the archive collection is again mind-blowing when i went to see it they had already sold like most of it yeah that's which is amazing like but yeah i mean this is a thing not all every single thing is over a million but a lot of there was like 10 a 10 million dollar piece so this is a huge i mean this is a huge growth business obviously van cleef and and cartier and and tivany and bulgary are all like giant businesses extremely profitable all these groups are putting a lot of investment into them but also for chanel and dior and vuitton and these are becoming bigger businesses.

10:55How do you, as a, because you're an editor and a consumer. Yes. How do you kind of, because that was the, I didn't go to that many. I went to Hermes and I went to Van Cleef during, because they usually do presentations during couture. I went to Charlotte Cheney. Like I went to some indie brands. I love Raposee. How do you sort of, because it's very, at this point, you leave a fashion show, you know what you think. With the jewelry, I was a little more like, I don't know what I think about it yet. Like, I don't know. There was, the Van Cleef immediately, I liked it. Yeah. But, you know, how do you judge it?

11:36There's some that makes, you know, you have to really think about it. I think Boucheron's one of those brands. Claire, the creative director, she's, you know, she once a year is allowed to, you know, she's encouraged even to just go all out and just, you know, go beyond the imagination of just a bracelet or a necklace. And she uses the most incredible materials to create this collection. So it's not, you don't look at it and suddenly go, oh, that's a beautiful bracelet with beautiful diamonds and really nice emeralds, the stone they use, but she really makes you think about each piece. So that, there's an emotion to it.

12:15There's still something about it that, especially when you go and see these incredible collections and the creative director or the team are there to actually talk you through and say, where did it come from? And, you know, from this one material, they use what's with special artisans that helped them craft something that took a thousand hours, you know, however many hours it is. So that you do, there is an emotional connection rather than just you look at it and go, why am I not a billionaire? You know, there are, you know, when you see certain things, you're like, my God, that ring is insane.

12:45I can't even get on the subway. So what's fun having something like this? You can't get on the subway. but it's a very different world but yeah to see pieces on you know from brands that are you know there's some that you just make these incredible pieces the craftsmanship like you said van cleeve and bulgari they've been doing you know that workshop's been doing this for years so the way they make a necklace or ring is so intricate it's so special and then you get other brands that are more experimental so you know there's so many different types out there it's very exciting yeah and then also you know you come you know it then trickles down to the bracelets that people buy and you know with yeah for cartier the high jewelry is exquisite and then you know nine times out ten we're all just wanted to buy the clue you know we all want the um the clash and that i think it's still exciting i i agree i van cleve had a i believe it was like embargoed until September.

13:48Until August. Yeah. Okay. Don't want to. No, we can't give that away. But yeah, that is very exciting. So when you look at the pigmentation, and you know, you look at it, you're like, oh, I know immediately who would want to buy that and who that belongs to. Yes. Watch this space. Actually, watch Dora's Instagram. Please do.

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16:07with me. Follow and listen to For the Love wherever you get your podcasts.

16:14So big news of the week is on Friday, it was finally announced that the Met's next Costume Institute major exhibition is going to be John Galeano, which was a long time waiting. Yeah. Long time coming. Yeah. So that's next May. It'll be the theme of the Met Gala as well. I'm sure they'll have two different names for no reason but it's going to be a retrospective of his work and then the the Met Gala everybody will be wearing Galeano Zara, Galeano Dior, Galeano Margiela, Galeano, Galeano. So what do you think about this? Obviously there have been the the headlines have all been like controversial designer, controversial designer, controversial designer in the fashion industry the John Galeano controversy is 15 years old and has been like we've all gone to therapy about it for many years I'm I'm curious like what you think about him as a designer also being British and like the fact that he is one of the only designers to get a major retrospective a single just him and alive you know I think they had um McQueen but it was after he passed yes listen i think it's going to be as far as the exhibition goes i think it's going to be incredible it's going to be so amazing to be able to see i don't know what was that you know his first collection when he graduated i've never seen those clothes in real life and to be able to see them it's going to be incredible and then also you know down to his red carpets seeing all of those visually without doubt it's going to be amazing but at the same time you know yeah it's been 15 years since he said those horrific words but you know we shouldn't forget that he did and I don't think he does for a single day and I think he's done so much work behind the scene when we discussed it you know behind the scene he has met with so many um Jewish communities he's put in the work and he since then has kind of stayed out the limelight a little and you know in the last few years it's kind of like drawn back in a little you know a bit more and a bit more and um you know people are always going to remember the worst thing he ever did.

18:31But I think after this exhibition, hopefully people are going to remember him as, yeah, he made a really horrible mistake at a really terrible time in his life. And then remember what a genius this man is. And not for nothing, just him as a person. I think it would be fascinating to see the interviews he's going to give. And the way he describes what inspires him. Do you remember the documentary? He was like, this is the doll that I bought. We call her auntie.

19:00I'm never not going to be fascinated by the way he describes anything. Yeah. Look, I think that you can't. Can you separate the art from the artist? Blah, blah, blah. There's going to be a lot of essays about this. I think it's actually really important to do this while he's alive and had to reckon with it. And anyone can watch the look that is the documentary. Whatever. But the work that he did is real. Like that, whatever you want to say about how this was all orchestrated, the work that he has done is real. And he is also incredibly important to the fashion industry. So, like, let's confront it instead of sugarcoating it.

19:39Or just constantly writing about, you know, him being this monster in this person that did what he did. And, you know, let him repay into the society. And then, you know, I think there was an article this weekend from the New York Times. And, you know, the amount of Jewish leaders that came out and said that we met with him. And, you know, this is not, I don't think this decision came lightly. You know, they didn't just have dinner and go, oh, let's just do it. No, I thought it was supposed to be last year. Like Chantal Fernandez, my old colleague and co-author of my book, Selling Sexy, Victoria's Secret.

20:18She wrote about this. this was in in the works two or three years ago and dana thomas who wrote the book about galeano mcqueen has written have written about this i think the question really is and obviously anna was is the reason he had he he got the margela job he she campaigned to help work him back into the fashion system um and and rehabilitate him and give him she supported him more than anyone else because she knew that she could. And he's too important to just disappear. We can't just ignore this person and his work. And to have someone like an Anna Wintour, which you just constantly fight for you, I think that's amazing.

21:02And she is definitely someone I always feel she's not going to do, you know, she's some things that, you know, some decisions she makes and I'm like, oh, you know, you do. Oh, I wonder why. But for this, I think it's incredible that she has gone out for a way to champion him and say, let's have him answer these questions. Let's have him, you know, tell us exactly the collection behind this. And what I love to know once, you know, he, the few years afterwards, what's the first collection he worked on? Yeah. How has that changed him from then and now? Yeah. And, and she's a, she's fiercely loyal.

21:39I think the big question for me is less about, I mean, I can't wait to see this exhibit. I'm excited for it. I, am excited for the whole thing because I do believe, I believe in Andrew Bolton and believe that they will do what they need to do to make this right. I thought, you know, they did that big exhibition on black dandy style a couple of years ago. And it was sort of like when the woke backlash was really happening and they, I thought that that exhibit was the best that they had done in years and it was like so well handled and and so thoughtful and I have total confidence in them without a doubt I think the question is is this going to be Anna Wintour's last met and that is I wrote about this in line she like everybody's that is it going to be the last one is it going to be the last one I the only person that knows that is Anna Wintour and and also So should it be?

22:40Maybe. But like the thing I always go back to is there is a 1999 New York magazine article about Anna Wintour. And it's like some play on winter or whatever. In 1999, they were talking about her retiring. I mean, this poor woman. It is 2027. Literally 27 years later, she's still working. Yeah. I don't know. should it be i don't know i think like i always imagine that she would keep doing the mat after she stepped away from kande for you know 10 more years or whatever listen let's be realistic she's not stepping away from anywhere she's not she's not so so people i don't know the answer but and also can i say if she does step away what's everyone going to talk about you know they people they need her they need her this is the thing who is the next her no one let me tell you there's no one else that now i know fascinated so many people i've seen her on immigration line people come out take pictures with her and these are people in immigration offices she's gone beyond just a fashion editor or an editor no she's one of the most famous people in the world i agree it's amazing and i think i don't think she should make this her last one i mean i know i agree someone like her can push for a galliano she be the last one she maybe it will be you know the met exhibition would be anna winter in retrospect that would be interesting because like when you think of her as what her contributions to the industry are it's not i mean you look at the shoots that they did over the years for sure but but it's not really the magazine itself it's all this other stuff i know which is and also i always i appreciate the fact that she always keeps trying i mean fashion rocks fashion night out fashion's night out my everyone's worst nightmare but she gave it a go oh my god you know the first fashion's night out was fun though i went to chanel and got mint green nail polish oh it was amazing i remember walking down soho it was like the next one i didn't go yeah i remember rihanna outside of intermix i wrote about it about Rihanna.

24:53Yeah, she was outside of Intermix. That's amazing. It was, but yeah, but then by 2013, it was like, please make this end. Well, I think it still was carrying on all the other international Vogue. They were like, please, let's oink in this end. But you know, she does. You know, she is not afraid to run with an idea. Totally. And she never pays a save, which is great. So she shouldn't retire. And she made Vogue a bigger brand. Yeah. Which is what that will be her legacy. I agree.

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28:46It was all over the Daily Mail. What is Celine Dion wearing? And now looking back, I'm like, she was before her time. Yeah. Yeah. You know, that was something. And then, I don't know, Celine, I do love the promotional pictures to announce the tour because she was so chic and sophisticated and like so fashion. It was like so Saint Laurent. Is she working with la roach again i don't know i thought someone else styled those pictures of um you know her announcing her tour yeah i think maybe he does not have time even if i think he does her red carpet okay when she's yeah i know that they go they dip in and out oh yeah la roach says oh this is a people.com article working with celine dion made him a better stylist i don't know if if he he He needs to come on this podcast.

29:38I've never asked him. I know. Why have you not had him? I think he was so funny. I don't know why. I'll get him on. We need to make this happen. I think he will do it. Yeah. And I mean, she's got a rocking body. You know, she wears clothes so well. Yeah. My feeling is I was never a fan growing up. I just never got it. Yeah. You know, I've been exclusively in L.A. for a few weeks. I've been exclusively listening to Paul Abdul, Janet Jackson, and Debbie Gibson. Oh, straight up? Yes. Yes, I just listened to that walking up from grabbing a coffee, which were all my favorites when I was like six and seven years old.

30:17She may have come onto the scene a little bit later, but I just was like, this is too cheesy for me. I cannot take it. It was always like a divorcee woman soundtrack. Yeah. It was like my heart will go on. I was like, no. No, and I didn't like Titanic. I'm just like, I was very anti cheese, like anything. It was just so much power palette. Yeah, well, I didn't like it. But I do have a real, I like her now. I have like an affection. The thing I will say is, are you going, so the reason we're talking about this is there are going to be two, you have to read line sheet to get the scoop, but there are going to be two magazine covers with her in September.

30:59Oh, okay. One in the US and one in Europe. Right. It's going to be, you've probably heard through the grapevine about these. They're all the talk on in Europe right now, but she's going to be on the cover. I'm all for it. I love her as an idea. Yeah. I will not be attending. Someone asked me to go with them to see her during fashion week. I was like, because she's, she has this series in Paris or whatever. No way in hell will I be going to see Celine Dion during fashion. Something like 2 ,000 euros or something for the ticket, and they're sold out within 40 seconds. The amount of people I know, they were like, I was on that site for three hours, and it just kept on going around the wheel.