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The Run-Through with Vogue: Episode Summary
Episode Title
How Tracee Ellis Ross Packed For Dior (and PFW!)
Episode Overview In this episode, the hosts Chloe Malle and Chioma Nnadi provide coverage of Paris Fashion Week, featuring discussions of various shows and an interview with the iconic Tracee Ellis Ross. The episode highlights Ross's experience at the Dior show and her insights into fashion, travel, and personal style.
Key Highlights
Paris Fashion Week Coverage
- Day 2 of Fashion Week: Hosts reflect on the beautiful weather and atmosphere in Paris.
- Guest Appearance: Hamish Bowles joins the hosts to discuss the luxurious show from The Row and share his fashion insights.
- The Row Show:
- Described as a "fashion Vatican," it featured elegant designs and a focus on textures.
- Notable elements included decorative hair combs and unique drapery in clothing.
Discussion of Fashion Shows
- Tom Ford Show:
- Described as dramatic with themes of elegance and seduction.
- Models wore transparent and lace clothing, showcasing a contemporary edge.
- Mugler Show:
- Focus on the new creative director Miguel Castro Freitas.
- Hamish Bowles shares excitement about the show following a conversation with Tracee Ellis Ross.
- Rick Owens Show:
- Known for its theatrical presentation, the show featured models walking through water and was accompanied by a remix of "Somebody to Love."
- Discussion centered on how Owens merges art with fashion and explores political undertones in his work.
Interview with Tracee Ellis Ross
- Post-Dior Show: Ross shares her experiences and thoughts on the Dior collection, discussing her outfit and fitting process.
- Fashion Philosophy:
- Expresses a love for elaborate clothing and the joy of dressing up, emphasizing the importance of personal style.
- Talks about her packing philosophy: "Bring It All" (BIA), focusing on having options while traveling.
- Fashion Memories: Ross recounts early modeling experiences alongside her mother and the confidence she felt during those times.
Cultural Conversations
- Traveling While Black:
- Ross addresses the complexities and societal perceptions of solo female travel, particularly for women of color.
- Emphasizes the importance of being aware of personal safety while traveling.
- Personal Style:
- The hosts and Ross discuss how fashion serves as a form of self-expression and joy.
- The conversation about packing leads into broader discussions about personal style and the experiences that shape it.
Key Takeaways
- Fashion as Expression: The episode underscores how fashion can be a platform for personal narrative and self-identity.
- Travel and Culture: Emphasizes the experience of traveling, not just as a journey, but as a chance to embrace one's identity and comfort.
- Community in Fashion: The camaraderie among fashion professionals, illustrated through anecdotes and shared experiences, highlights the community aspect of the industry.
Conclusion This episode of *The Run-Through with Vogue* effectively combines fashion insights, personal anecdotes, and cultural commentary, making it a rich resource for listeners interested in the intersection of fashion and identity. Tracee Ellis Ross's contributions add both depth and a relatable perspective to the discussions around fashion and travel.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Transcript
Automatic transcript. May contain errors.0:02It's a sunny Thursday morning in Paris. Yes. Where are we? What are we doing? Today we are at the Ro Show at their flagship store in Paris. Very exciting, very exciting. Hi! Hello! How are you? Good.
0:24This is The Run Through. I'm Chloe Mell. And I'm Chairman Ardy. And it's day two of our Fashion Week coverage, which I'm super excited about because it's been so beautiful here in Paris. It is the most gorgeous weather. We're so lucky. We're so lucky. It just lifts the mood. It makes, you know, you have light coming through these windows at the show as we were just at the road. And later in this episode, we have an interview with the one and only Tracy Ellis Ross. We talked to her from the Vogue France offices right after the Dior show, which she attended. It was very exciting to hear everyone's immediate reactions.
0:59Yeah, and I love that she talked about her show, the solo traveling with Tracey Elias-Ross. If you want to deep dive on it, I would highly recommend. Yes, and Tracey, she is a true fashion file, and she's going to a lot of shows this week, so she was ready to go in her full head-to-toe Phoebe Philo leather. But before we get into that conversation, we are in Choma's van on the way to the Mugler show coming from The Row. And we very sneakily scooped Hamish Bowles, the one and only, off the street corner and begged him to come with us because it is always such a treat to be with Hamish. Hamish, thank you for being kidnapped into joining our podcast.
1:45No, my thanks are due to you.
1:50I have to say, from someone who typically is not always in Paris and sees The Row a few days later on Vogue Runway, never on social feeds because they don't allow social media. It was very exciting. It feels like being in a, it feels almost like going into the fashion Vatican into this show. It's like a secretive place with mystique. I love how on every seat there are sort of parchment paper wraps, little paper notebooks for you to physically take notes. It's very return to IRL and an AI world. And isn't it fabulous? I think they work up there. I think that's their actual office. Is it? Yeah, the space is gorgeous.
2:30Yeah, they hold their shows there every season and they always have obviously like very chic water in glass bottles as you enter and there's coffee. The best orange juice I've had in a long time. The best orange juice. Everything is kind of like of the highest taste. Personally, before we get into the show, I have to talk about the beauty because I was transfixed by the updos. Oh, the hair. The hair was so fantastic. Wasn't it? It was just incredible. It was, I would say three, what are they? What are they? Combs? They were combs. They were decorative combs. Three decorative combs. Almost Japanese.
3:06Yeah, almost like in an S-curve shape. And it completely transformed each girl's look. I just thought they were fabulous. I will let you guys talk about the fashion from here because I was almost just totally distracted by the hair. I thought it was fab. So, Hamish, what were your fashion takeaways on the show? I think they're always going to the root of style. They had something like a feather skirt, which could have been a feather skirt, and it was an apron, which gave it a twist. And then there was an evening dress that was draped just like a Madame Cray. Yeah, that was beautiful. That was beautiful.
3:56I love that. And I just thought there could be any of the chic women there. Yeah. Absolutely. It just made me think, I always think when I go to that show, and maybe this time more than ever, because it felt very much leaning into the evening wear more than anything. It's like, that's to me like if there's a modern swan, like she's wearing a robe. Like it just felt like that. And I do think that even as elevated and expensive and luxurious as it is, there are such sort of inspirational details that every woman can take from that. And I do think that's why it has resonated so widely. I thought that the very simple black pumps, quite a narrow black pump, was really elegant and pretty.
4:42And also, they're the only ones who can do, or it's hard to do a show entirely in shades of black, white, and cream. and still have it feel exciting and vibrant. Yes, exactly. I've been seeing so much play on texture this season, and I felt like they really took it to the next level, like you said, with the feathered skirt. And then there was that pullover that almost looked like hair. I'm not sure what the fiber was. That was incredible. It was incredible, and it just looked so easy. Where anywhere else it could have just looked like, I don't know, like a bad cartoon, but it was so beautiful and chic.
5:24And yeah, everything is kind of always pitch perfect. And back to your point about the styling, I think they work with Brian Malloy and they've had a long collaboration with him. And I think the styling, like you said, is so on point. And there are so many things that we can sort of take away and do now, like wear now, which is always kind of fun when you come away from the show, to instantly have a way to update your look right now.
5:51Should we talk about Tom Ford? Yeah, let's talk about Tom Ford. That was very exciting. Oh my God, talk about drama. That was so exciting to me. That was the most exciting show I've seen so far. Yeah, I'd love your take on it because I know you've long been a friend and fan of Hayda. Yes. I think he's taken everything one expected of Mr. Ford himself and twisted it and given it a sort of very contemporary edge. Yeah. But I think in those clothes, anyone's going to be super elegant because I think they are just, they're designed for elegance. And it was marvellous. And I loved how the models kind of sorted out either in fours or threesomes.
6:48And there was kind of like this element of seduction between them. Yes. I mean, some of the clothes were completely transparent. There was a lot of transparency. There was a lot of lace. There was like a little bit of a S &M. You could see in the men's clothes there was some sort of thongs coming out. Exactly. Yeah, it was a tiny bit of, maybe it was a latex song or something. Like it was quite, but it was so well done in a way that was so in Tom's world. And I think that's really the key because he manages to take all of those codes of Tom Ford and bring them forward. And I think that to me, that's what makes these creative directorships are new.
7:28That's the secret sauce, getting that tipping point between paying homage to the past or taking forward the history of the house to somewhere completely new and owning it, which he did, because it felt completely in the world of Hayda and Tom Ford. It was like the Venn diagram was so perfectly formed. I thought that was really, felt extremely, it felt electric. Yes, it did. It was great.
7:55So next we are on our way to Mugler and Miguel Castro-Fretas is the new creative director. He graduated Central Saint Martins in 2004, and he was handpicked by John Galliano to work at Dior after his graduation and has held designer jobs at Saint Laurent under Stefano Pilati and Lanvin with Albert Abbas. Most notably, he was head of tailoring at Christian Dior under Raf Simons and head of women's wear at Drees and creative director of Sportmax. Wow, what a resume. Oh my God. Yeah. That's quite something. Quite a resume from Miguel. I have to say it was fun to be, it's fun to be going to Mugler today after talking to Tracee Ellis Ross about her debut on the runway.
8:46She was wearing a Mugler jacket. Oh gosh. For Monsieur Thierry Mugler himself. Yes. She and her mother modeled together on the runway and she just has amazing story about traveling on the Concorde with all the supers to the show. So it's a nice coda to our interview with her. And I always love Rabanne. I'm excited to go see that today. It's at the UNESCO building, which is a very specific location. I have a dream to stop at Dries boutique on the way there. I can facilitate that dream. All right. Well, that is it for this morning. Later today, Mark Holgate and Nicole Phelps are going to chat about Rick Owens and Schiaparelli, which are later this afternoon and this evening.
9:30I just love the way Rick Owens brings theater to Fashion Week. You know, there's always an otherworldliness. You could say the same about Daniel Schiaparelli. Yeah, yeah. You know, there's an otherworldliness about his shows. And I also love that he taps into the moment. There's always some kind of political undercurrent in his shows. He's very tuned in, and we're in quite a, you know, turbulent moment. So I'm quite interested to see how Rick will interpret this.
10:06Au revoir. Au revoir.
10:15Hi. Hi, Chelsea. Nice to meet you. Do you guys want to be on that podcast? I'm Tiziana Cardini. reviewer for Vogue Runway. I'm Amy Verner, Paris-based contributor to Vogue Runway. Amazing. We are in the van once again, coming out of Rick Owens, headed to Schiaparelli. In the traffic. Beaucoup de trafic. Where was the location of your home? It is always at the Palais de Tokyo, and in September it's always outside, and it's a beautiful day. And the models walked down a flight of bleacher stairs in their insane Rick Owens boots into the water. The fountain. There's a big fountain at the, you know, at the back of the stairs.
11:08And there's always something happening in the fountains in Rick Owens shows. So you never really know what to expect, like smoke or, you know, jets of water or very. Yeah, confetti or gold confetti or very strong music, like in this case. And, you know, there's always anticipation about what will about to happen. They put on their game face. You wonder what they're thinking as they're trudging through the water in their shoes. Just let me not fall. Just let me survive. Just let me not embarrass myself. Because I don't know. They just do a really good job and we take it for granted. Yes, the models definitely earned their fee at a Rick Owens show.
11:57But as some listeners might know, to the podcast, Rick Owens has had an exceptional exhibition at the Palais Galliera this summer. It opened right after his men's show in June. And Rick was on the podcast. please go back and listen to it if you have not. And he was talking about how he has accomplished everything that he wanted to. Like, this is the ultimate accolade for a living designer to have an exhibition. The only other living designers that have ever had an exhibition there are Azzedine Alaia, who has since passed, and Martin Margiela. And so it was a very important moment for him. And now he said he feels sort of freer.
12:45And I think you could tell it in the clothes, which were very lightly constructed and many layers of sort of like a sheerish mesh. And the drawings apparently were his astrological chart done by his father many years ago. And so if you looked carefully, you could see that it said Richard because that is Rick Owens' name, Richard. And he's a Scorpio. We love Scorpios.
13:20It's essential also to talk about the music at Rick Owens.
13:28which was a remix of a very famous jefferson airplane song don't you want somebody to love and yes yes we do we all do and uh i don't know the way that they were moving so slowly down the stairs and then through the water and the song just kept repeating that line like a mantra it It was really beautiful, wasn't it? Yeah, it was. Also, it was kind of intense, the beat, because, you know, it was really high energy.
14:06Thank you, Tiziana and Amy, for your valuable insights.
14:16And we will be back with Tracee Ellis Ross after a quick break. Thank you.
14:52Join us every week on the New Yorker Radio Hour, wherever you listen to podcasts.
15:05Tracy, I want to know about your Dior experience today. What were you wearing? I was wearing those shorts that are an ode to the old layered, layered, layered, layered, layered dress. in a washed chambray, like blue. They aren't chambray. It's like a heavy twill, you know, with a tweed jacket with the grosgrain collar, tux jacket, double-breasted. Almost a riding jacket. It was like a riding jacket, yeah. It was gorgeous. It was heavy. And then I saw an ode to it in the collection, so it made me feel really chic and special. What was your fitting process? Like, how did you come to this book? I didn't fit.
15:48Oh. Really? I did not fit. It just was sent over. Really? Guys, you must know each other very well, then, at this point. Well, Carla sent it over early. She was like, get it out of here before it ends up on someone else. So it's Carla Welch? Yes, Carla Welch. And she was over there working with Jonathan, and he gave the seal of approval because he knew that it was something I would wear. So great. Yeah. It was really, the thing that I love so much and I think we really saw in the collection, which was exceptional. It was like a drop the mic situation for me. His clothes have this unpreciousness that they're both beyond and also just wearable.
16:36You know, even like that ode to the tiered skirt with the sweater. Yeah. You know, it just, or like putting a denim skirt with an extraordinary jacket that's got so much detail and so much structure and balance and all the proportions are kind of going nuts. And then a teeny little micro mini, which I can't wear anymore. Perhaps with a pantyhose. We look good with a pantyhose. Yeah, that's my new, as a young girl, I was like, ugh, pantyhose. as an adult, I'm like, pantyhose. I'm like, stockings. I love a stocking. I find them so sexy. I do, too. I do, too. Yeah. I love a stocking with a seam. What do they call that?
17:17Yeah. A back seam stocking, no? Just a back seam stocking. I love a stocking with a polka dot. Me, too. The little twist dot. Yeah. Yeah. I love that. Yeah. But the collection was stunning, and I... Did you take any mental notes about pieces you would like to wear? I did, and I took those pictures. I loved all the stuff with the lace on the face. Oh, yeah, yeah. I thought that was beautiful. And the pop of color, the red with the white. That was like beyond to me. So beautiful. And the lace kind of hanging behind. That was the thing that was so interesting. Even some of the ones that had the bustle, it was a bustle on the front versus the back, which I thought was really special.
17:49And then, you know, the veil, it was like a veil across the mouth instead of across the eyes, which I thought was really sweet. And of course, those hats were beyond. Hats. I love the hats. I think I'm going to wear those to the grocery store. Air one, watch me come. Choma, do you want to describe The hats for people listening. Stephen Jones, no? Yeah. Stephen Jones. They almost were kind of like hats that kids make out of paper but exploded up. And I always love that there's kind of an innocence or a childlike kind of wonder about his clothes. Like a whimsy to it. A whimsy. Yeah, they were sort of mostly black, satin, deconstructed tricorn hats.
18:25Yeah, exactly. And kind of front-loaded. Yes. Instead of back-loaded, which I thought was really interesting. Yeah, they were really great. It was sort of Galliano meets where the wild things are. Yes. That's the perfect description. With what you can make a folded hat out of, right? Yes. From paper. Yeah. Beautiful. And they frame the face so beautifully. And that's what I love is there's a way that he sort of does proportion that's like no other. Because there's nothing about it that would make you go, yeah, that'll work. But somehow it's just like, yeah, that works. Yeah. I also love the way he mixes patterns and colors and puts a shoe that's sort of unconventional with a more elegant look.
19:07They're major shoes. Major shoes. I like the ones with the sort of exploding roses on the front. Yeah, like it's like someone smooshed the rose. Really good. The little bunny ears. Yeah. The bunny ears right at the end. Yeah. I feel like it's so funny you talking about proportion because I feel like I often see his clothes on the runway. it and then I want I'm sort of oh I don't know if I could pull that off but I'm excited by it and then I see you walk and you just wearing it casually you managed to pull off I think some of these like you were one of the first people in those jeans yeah yeah which were fantastic yeah I feel like um I don't know it's I think also because he really makes things on a body um that the draping kind of works even though it's a bit quirky.
19:55It's a little bit like, huh? Like, were they sweatpants that he did? That was amazing. It was like rolled on the front. Even that, there was like an evening gown that was jersey. It was beautiful. But with the most precise pleating and twisting. Yeah. I also feel like one of the things that I see in his work that is not of the norm in our culture right now is a lot of humility. He has like, there's a way that he, I don't know, that I just love. Vogue Runway was live blogging the Dior show and the editor started live blogging before I got there. And the thing that everyone was most excited about to begin with was the Usher's outfits, which were so chic.
20:35They were all wearing these like military gray polo, cashmere polo long sleeve sweaters and wide leg gray wool trousers and they looked heavenly they looked heavenly and they were not allowed to keep them the way off really oh really where would they all go I don't know huh huh huh that always is fascinating to me because I'm like but then where will they go as long as you're not throwing them away maybe employees who knows who knows where they'll end up that's fine as long as they're not tossed no I mean for me it kills me seeing those enormous sets and then they're just It makes me crazy. Well, this was kind of like an upside down.
21:13It looked like a diamond. Did you notice there was a little box at the bottom of it? Yeah, it was like the pyramid at the Louvre, but under the upside down. Yeah. It was very cool. Actually, my mom's engagement ring is an upside down diamond. You mean it's inside the setting it's upside down? Yeah. Oh, that's cool. So it's pointy coming up. Oh, wow. But it sort of looked like that. Yeah, it totally looked like that. An inverted diamond. And I thought it was so coy and self-aware and wry to have this sort of campy mashup horror film start. It began with, do you dare to enter the House of Dior? And it was an edited short film of classic horror movie moments plus the different moments in the history of the House of Dior.
21:59I thought it was very, a beautiful ode to that also had all of the Jonathan camp. Completely. And it was cheeky, but respectful. And Anna and I actually went yesterday to see a preview of the collection. And Jonathan had just had tea with John Galliano, who he invited to come see the collection, which I thought was such a gracious, elegant gesture. And John loved it and was so excited and happy to be included. and seeing the collection on the runway obviously is always different, but this felt particularly like the pomp and circumstance of the setting made it feel much more actually wearable because when you saw the pieces off, I wondered how...
22:42When you did the preview? When we did the preview, I wondered if it would look costumey or unwearable. And then when you saw them on the body on the girls... That's what I was saying, how he drapes on a body. It really works. And you can... Even the sort of Spanish mantilla lace over the face, You can't eat in it, but you could walk on it in the red carpet. Watch. It's going to happen, guys. I can't wait to see you on the red carpet in that. I would die. That's a really good one. It's so beautiful. It's gorgeous. And just, I mean, everything from the shoes to the, then they were the very wearable redos of the classic bag silhouettes.
23:17He made the Lady Dior bag sort of softer, but still what it used to be. So I'm really excited to see how that translates. I also loved the, he took that silhouette of the coat, the sort of Dior coat, and kind of, it was almost like he like mushed it. Yeah. You know, and it had that kind of twist right at the front. So apparently also the short dresses, the short. The one with the short top and short jacket. Yeah, apparently it was the exact length of the original bar jacket. Really? Yeah. So the entire thing. The shrunken skirt suit that was very short. Hit right in the same spot. Which you and I would wear pantyhose.
23:53was actually the original length of the bar jacket. That's what I mean, though, about there's a real gracious sort of reverence that I thought he did in the collection that was really beautiful. Yeah. It was just like a nod to, and if you have any historical reference for Dior through the years, I remember going to that beautiful exhibit that they had. I don't know if it still exists. And you sort of felt that nod, and I thought that was really beautiful. Yeah. I love people that have a sense of history and are willing to sort of nod to it while still leaning towards the future. I think we do too much in our culture of forgetting and thinking you're coming up with something out of nowhere.
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24:40And, you know, there's so much that has been done, both in a negative and in a positive. and I think history is important. And particularly, not particularly, but even in fashion. And so I loved that he did that. I really thought it was beautiful. Yeah, me too. Is that historically the first time there's been one designer for men and women? I mean, since Monsieur? I mean, that is a big deal. That's a whopper. Yeah. Big undertaking. He's got a jab ahead of him. I mean. Whee! Yeah. What's he like personally? because I think you guys at this point know each other quite well. Not quite well, but we do know each other.
25:17He's just a sweetheart. And he's funny and, like, lovely. I think it's all the things you see in his clothes, you know? There's a sense of charm and sweetness and also, like, he's got that little reverence, you know, which I think you really do see in his clothes. Are you going to be, where will you be putting your nut dish? I know, we were talking about this. Oh, first of all, you just said nut. I was like, I'm sorry, what now? Where will I be putting my nut dish? I don't know. Strategic pause. Exactly. There's a place in my house where a lot of my treasures go, like the shoes that Mark made me that I didn't end up wearing, the platypus shoes.
26:01He made them with, it's like a buckle. But anyway, they were platypus shoes that, they were like rhinestone buckles all the way down the front. And I didn't end up wearing them because I would have definitely eaten it. But those, so I will probably put my plate within that. It's by my Golden Globe and all my awards. There's like an area of treasures. Wow. Golden Globes, rhinestone buckle, shoes. Like 10 NAACP awards. Just like, it's just, and then there's just books. Just like crazy books and like some childhood stuffed animals. Like it's all just like a mishmash of like yummy things. Like a lot of coffee table books and stuff like that.
26:38Do you remember your first fashion show? I think the first show I went to, I walked in and I can't think of the guy's name. It was the 91 Mugler. No, there was a show that nobody knew anything about. That was before that. Mugler was, I mean, you know, that's a memorable moment. The memorable part for me is that I was asked back without my mom. I went back the next year. That was exciting to me. Yeah. There's a good story from that one about Naomi. I was very nervous when I went back the second time because they wanted me to wear, it's a video that's around. They wanted me to wear this, he, Terry, wanted me to wear this rhinestone dollar signs on my bibbies.
27:24Wow. Okay. And a little like rhinestone capelet that went over it. And he wanted me to open it up at the end of the runway and shimmy my bibs. Wow. And I'm wearing like red pleather pants. And I was very nervous about showing my bibbies because I didn't know if, you know, the real stuff was going to come out, the important things, the very treasured nipples. And those are for nobody's eyes but mine. And Naomi said, I was like, I don't know what to do. And she said, do you want to be a model or not? And I was like, I want to be a model. So I showed my bibbies. And here we are. Very comfortable.
28:03I have to say I look back at those, even this one with my mom, and I think, my God, the confidence I had. Because that's hard at that age. Are you kidding me? I just don't even understand where I got it from. What pocket was that hiding in? I can't believe the way I walked. And they were all so lovely. And it was exciting. And we flew on the Concorde. Oh, my goodness. It was Linda, Cindy, Christy, Naomi, and me and my mom on the Concord. Hello. Stop it right now. I mean, there were other people on the Concord. How much older than you are they? Were you about the same age as the ladies? I think they're a little older than me.
28:40Yeah. I'm 52. I think they're a tiny bit older, yeah. I think they're a little bit older. I mean, they were plastered on my walls. Wow. Stephanie Seymour. Like, just like, everybody was just on my walls. I was, like, dead. my god. Did you like leave school to do this? So what happened was I was maddling at the time. I was trying to be a maddle. I was really just maddling out in the world. I was with Wilhelmina. And I think I was 17 when I started. I don't know. And my mom got a phone call from Thierry Mugler to see could she come to walk in the show. And her response was, my daughter wants to be a model.
29:24My daughter wants to be a model. Can she walk too? I mean, I could have, whatever. Anyway. And so it was my birthday. It was right before my birthday because my birthday was, I was turning 18. And I did, we left, I skipped a little school. I made it to Brown though. I didn't, my intelligence prevailed. It's amazing that you didn't pack it all in. It prevailed. And then I went and worked at Mirabella Magazine as a fashion editor for years. Yeah. Well, that's why we love your perspective on the show. Me too. The Brown to magazine pipeline. Yeah. Is that you? Yeah. Love it. A couple years behind me.
30:00But Samira and I worked together at Mirabella, and that's when we were barnacles on each other's lives since then. Samira, the fabulous editor of Harper's Bazaar. Yeah, that's my best friend. She's the best. So it's been almost 30 years now, Jesus. That's so great. We've been loving your show, Solo Travel. Oh, thank you. with Tracee Ellis Ross. And I'm personally very impressed with your packing. Oh, goodness me. Bring it all. Tell us about your philosophy. What did you pack for this trip? I actually did really well this trip. So my packing philosophy is BIA, bring it all. I have made it to the other side of having tons of shame around how much I pack.
30:46There's a lot that is in the reason that I pack as much as I do. Some of it is that in my life, I don't really get to wear my beautiful clothes, but I love clothes and I've always loved clothes. I don't do dishes. I do do dishes, but I don't like doing dishes and I will always shop. It's just, that's the way it goes. But, and so travel for me is one of the ways that I get to kind of do my thing and have the agency and adorn myself as I desire. and the truth is that my, like, you know, I live in LA. Usually I'm dressed as other people as an actor unless I'm going to the office as a CEO. And so travel is that opportunity.
31:27So it's a combination of I pack for beauty and disaster. So it's a combination of satisfying the anxiety of like what might possibly happen. There's gonna be rain, there's gonna be this. I might get food poisoning, and then there's also just like making outfits. And truthfully, my experience as a fashion editor ruined me because often I have to remind myself, I'm like, this is not a fashion closet and you are not doing editorial shoots. You're actually going to go to live and do things. Right, because packing 10 suitcases as a fashion editor is pretty normal. It's normal. Yeah, that's normal. Like when you're doing shoots, but I'm not going to do a shoot.
32:04For this trip, I'm here for seven days. I packed four luggages, but I packed two of them very empty. So you do it personally. It's not you and Carla sort of figure out the looks. No, Carla has nothing to do with me dressing myself. Carla dresses me for work. Right. For red carpet. Right, right. Carla has nothing to do with my shopping. People are always like, does your stylist pack you? I'm like, God, no. Jesus. No. Carla does not. No. So it's my shopping. And like, for example, for this trip. Do you leave space for shopping? Because Paris is a great place to shop. It is, but I don't end up shopping when I travel.
32:44Interesting. No, I like to shop all year round. I love, I explained this to my sister at 12. She knocked on my door and she's like, can I come in? I said, I'm trying something on. She goes, you're always trying something on. And I poked my head out of my room and I said, Chudney, shopping is a 24 hour, seven day a week affair. You never know when you're going to get hit with something good. Wow. Here we are. The run for a book. Yes. You don't. I just don't know. I love spending time just trying my clothes. It's my happy place. And so for me, so I will either play dress up. My favorite time of day is the morning for dress up.
33:22And sometimes they turn into a character and then it goes into the other part of my life. But for me, I start playing. And my favorite, I can tell when I get a good outfit because I literally out loud in my mirror, I'm like, yeah. Yeah. You are cute. Yeah. I do think that's the key to personal style is just dressing play. Like you're playing, like you remember when you were a kid. Yes. Just dress out of a box and just have fun. Play. I love that part of my life. It just brings me tons of joy. It is one of the ways that I wear my insides on the outside. Yeah. It's fun. That's a nice way to put it.
34:01Yeah. Do you plan your outfits in advance when you're packing, or is that part of bring it all? You're just throwing things in? No, no. Did she just say throwing things in a bag? Oh, my God. The offense. I was taken aback so deeply. My God. I recoiled. There's no throwing it in a bag. I don't even know what that means. No, there's no throwing it in a bag. If there's one thing that I am, it's very specific. I do usually do by looks, but then there's things that overlap. One of the ways that I edit is if there's a pair of shoes that's only getting worn once, it's out. And that means that look's got to go.
34:35Oh, wow. So that there's— So do you do multiple rounds of edits? Yeah. And just—so as soon as I know I'm going on a trip, I start the dreaming in my head. And that was how these two jackets—it was actually a green leather one, a Laya one, that I first was like, I need to go get that. So I usually go like in my nightie, in my slippers, into the area where the archives are and pull things. And then I sort of create looks and start. And I have racks. I have two racks, two beautiful, yellow, gorgeous racks in my dressing room. And I just start. And then I start sort of switching things around so that I can kind of see what the looks are and everything hangs.
35:16And then they lay all over the floor. It's such a fun process. Wow. It's nuts.
35:25We're going to take a quick break, but we'll be back with Tracy in a moment.
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36:15What is the T-E-R must-see Paris list? like what do you have to do when you come to Paris I don't know that there's a every time I have to I do love Paul Bear I just the Paul Bear is a part of the flea market in Clancourt and there's a restaurant, the Paul Bear restaurant I haven't been there okay, it's really good I think I went there with Lynn she might have taken me there I truly was like, okay, another great restaurant two floors? no, I think it's just one floor But I walked in and there were so many Americans there. And I looked at my friend and I was like, really? Where are we? What are we doing here?
36:59Come on, guys. It's so hard to get the reservation. That food, I could have worn that steak au poivre. I kid you not. I was like, what is this? It was fantastic. So I love that. But mostly, I like to see what the exhibits are and what's happening. Like when I came during, in July for Couture, I went, I had a wonderful tour at the Louvre. That was wonderful. Of the fashion exhibition, right? No, we just, we did a proper private tour. Oh, wow. And it was exceptional. And then there was a pool in the center of the beautiful place and there were all these bowls. Someone had a show there. And it's a wonderful private collection.
37:47Is it the Pinot collection? Oh, yes. That is what it is. Yes, yes, yes. It's the Ta-Dao and Dao. Yes. So that whole building. The La Bourse de Commerce. There we go. Thank you. And there, Gallery 7 upstairs did an exhibit on black bodies that was everything from like Man Ray to like Kerry James Marshall. Like just a beautiful exhibit or collection of just all different kinds of beautiful pieces that I loved. We also went and saw, God, I have the worst memory. The Vuitton, is there a Vuitton? There's a foundation Vuitton. And there was a Hockney exhibit. Maybe you saw that. I missed that. Again, what we've discovered is Chloe has a better memory of my life than mine.
38:36So I'm grateful. And I might need to bring you with me everywhere. Copping out of Tracy's purse to correct what we're talking about. I'll be, yeah, whenever I can't think of something, I'm like, Chloe?
38:50Choma have you seen the Virgil exhibit that just no I heard it was wonderful I'm excited to go and see it they invited me to do a round table and I'm not sure I'm going to make the be able to make the timing work but I think they're doing a lot of activations there which is really great it sounds incredible can we talk about the products you're using? sure just because I mean like are you using like pattern on your hair? well I love pattern I know it's not really for me but I love pattern it's for people who need hydration We were talking actually because I think a few of the producers here have been using pattern.
39:21Okay, okay. Yes, yes. So how do you pack your beauty products? It's ridiculous. There's usually a bag for cosmetics. Oh, that's what I'm saying. Because you need that. The other thing is if I have multiple stops, I have learned no one bag has like all shoes or all. Oh, smart. I literally, it's outfit with the shoes that go with it all go in one bag so that if a bag gets lost, I can still live and be fine. Yes. This is a great strategy. Yes. Very, I had one year I packed. So it all started at 12 years old when we went on a trip and my luggage got lost. I still have not looked at it. Where was the trip to?
39:58We were on our way to the Bahamas. It's when my mother met my stepfather. And great, but I'm still missing some of my pieces. I had a yellow Guess Velcro oversized shirt that I could still use today. I, for some reason, decided to put my jewelry in the bag. That'll never happen again. Oh, that's so cool. A Tiffany's, like, stack of pearls ring, my Elsa Peretti kidney bean, gone. No. Yeah. Gone. So you don't have PTSD from that. You still are able to check? Because that's why I get really scared about checking anything. Because I'm like, can I bear to be without this? I check it all, and then my carry-on I could live out of for a week if I had to.
40:38Okay, that's a good idea. And just look chic. And nothing, like, super precious goes. Things that you want of a kind. Well, no jewelry. None of that, yeah. Like, this was rolled up. This jumpsuit was rolled up in my carry-on. Okay. Oh, wow. Yeah. The jackets weren't, but this was rolled up. But I had one direct flight, so it was okay. But wait, I cut myself off. We were talking about products. Pattern Body. Yes. So we just launched Body, which is a dry scrub, a shower gel, a lotion, an oil, and a cream. Oh, so this is good for travel then because then you don't need to one product. Travel size.
41:12No, it's all those different things. Hilarious. Wait. Incredible. Oh, wait. The whole thing. I thought it was like one product because you know they do these products. That would be amazing. I was like, I have never heard of this. It's a scrub and a lotion. And it's a husband. I was like, what? And it pays your bills. It cooks your food. And it's for Body. It's incredible. We have changed the world. No. I mean, I love your confidence in me and my products. I was like, this is weird. Choma's like salt. My choma was like, what? Neat. Yeah, no. Uh-uh. But we went from pattern yellow to sweet tomato, which is like an orange.
41:49So it's, yeah, very good. Yeah. Very nice. Very nice. Tracy, I want to know where we might be going in season two. We're working on that. Okay. What's your bucket list destination? Well, I really wanted to go surfing because I've never surfed. Okay. And so there was a part of me that wanted to try that. So maybe Australia. I've never been to Japan. I would love to go to Switzerland or the south of France. Okay. I don't like going places that I go regularly and know because I don't like adventure. Don't get me wrong. I have no need to be adventurous. But I do like to experience new places. So those are some that are on my list.
42:35I'm sort of curious because what, for me, was such a breath of fresh air. Because often travel shows are usually fronted by, you know, some old white guy. And this idea of traveling while black, which I think for a lot of people, like there are certain places that as a black or brown person, we feel less comfortable. I mean, is this something that you, when you were pitching this? Yes, that is something I definitely took into account. Yeah, I didn't think it would be fair because although I might go there and feel safe because I had a production around me, I didn't want to give people the impression that somewhere was comfortable or safe to go if you weren't.
43:10And what I say to people in talking about solo travel that I think it's really important to ask yourself those questions. What are the areas that might be the most beautiful part of you but might leave you vulnerable somewhere else in the world? and how can you do some due diligence in advance to really make sure that it's a place that you can be comfortable, whether you're LGBTQ, queer, trans, black, you know, whatever, a woman on your own, disabled, whatever that may be, that you really sort of make that a part of your planning of the trip. I think that's incredibly important. But also, what kind of solo trip do you want?
43:49And one of the things that I wanted to do with this show that was really important to me is it's less of a travel show and more of a can you be yourself by yourself out in the world. And I think it's more about the relationship with self than sort of the adventure that I'm going on and the things that I'm experiencing, although that is part of it. And I was really kind of blown away by the very, the way it resonated with people, but not just single people, because that's not the point. And I was grateful. And I think it really struck a chord in terms of the revolutionary act of enjoying your company and leaning towards joy.
44:31I think I was quite surprised that people still kind of remark on the fact that as a woman traveling alone, it's like, oh, we must kind of in Spain when you're in Spain. Oh, my God. I just felt like if you were a man, nobody would be like, oh, my God. You know, there's a lot of things that still shock me that I just can't believe we're still having conversations about. I'm like, really? What? Baffling to me. But yes, people are shocked that, I mean, it's like, you know, a table for one. Oh, it's just you? Oh, God. No, I was joking. Yeah, it's just me. I'm good. That's still one of my favorite sects in the city is where Carrie decides she's not going to have the shield of a book.
45:13That she's just going to sit down and look at everyone by herself while she's eating. It's my favorite thing to do. It's my great – I mean, I have two young children. It is my greatest luxury to go to a restaurant by myself. And just watch people. Heaven. Yeah. Why live in New York City if you're not going to do that? Truly. But, yeah, when you're traveling, it's my favorite thing. I actually learned that in Switzerland because the Swiss stare. Yeah, they do. My people stare. Let me tell you. Are you in Switzerland? My mother is Swiss, so I spend a lot of time there. But it is – I grew up there.
45:45And I went to boarding school in Switzerland. Oh, my God, of course. So you know. Did you go to La Rosé? I went to La Rosé. Oh, so did my mother. Yes. She set the olden on fire. It was amazing and interesting. And then we had a home in Verbier the whole time growing up. because my stepdad lived there. The Swiss, it is fascinating. You can literally wave at them staring at you, and they'll just stay staring at you.
46:14To this day, even when I go to Switzerland now, I'm always like, no, this is a Swiss trait. It's like a thing. It's like chocolate and staring. And clocks. And clocks. And happy cows. The first time I was in Switzerland, I saw this cow sort of, well, I didn't know it was a cow. I was like, what is that? Is that a giant dog? but it was like a frolicking cow. And I was like, that's why the cheese is good. They're happy. They're happy. Happy cows make happy cheese. And they're literally on the top of the mountain. They're just grazing and doing their thing. We digress. Sorry. I know what I want to ask.
46:48Yeah. Your birthday is a month from today or yesterday. Yes. I'm not even counting anymore. I'm at that age. What's the birthday plan? I have no birthday plan. Okay. I am at an age where half the time I'm like, how old am I? I did that for the first time. It's very weird. I forgot my age. I was like, this is scary. It's a fabulous thing. I think it's fabulous. Yes. I think it's fabulous. So I don't have a plan for this birthday, which feels liberating and great. I did something big for my 50th. I don't know that I care. My life is a bit of a gift. Oh, that's a good answer. I mean, truly. Like, you know, I'm in Paris right now for such an important, lovely season of fashion.
47:34And I'm here having, you know what I mean? Like, it feels, and I'm wearing a leather Phoebe Philo jumpsuit. Like, what? What could go wrong? I know. What could go wrong? What could go right? All of it. I could. I could. But I was sweaty enough at Dior. Okay, last question. What are you reading and watching while you're traveling? Okay. I don't know the name of the book that I'm reading because it is not out yet and was handed to me by a friend of mine who's a book editor. Oh. Well, this is not helpful. No, it is not. But it's a very good book. This is like when my mother, she goes, I went to a dinner party last night.
48:09I sat next to someone who knows you. Who? Nothing. What they look like. Nothing. Okay. This is a good conversation. Thanks for telling me. But then the one I'm listening to is called Sisters. The Sisters. and this is by Jonas Hassan Kamiri. It's very interesting. Long. Okay. Which is why I ended up deciding to listen to that one and it is like five. You're like, I can't pack that. I need to pack a... And it's a hardcover. So I started listening to it and then the book that I was given was a little one. Nice. And so that was the one I took with me for the trip and it's very good. It's very cool.
48:44Well, this was fantastic. Thank you. I'm sorry I made you guys wait a little bit. No, we're so happy. This was a treat. Right on time. And I'm sure I will see you at some of the other lovely adventures.
48:59That's it for The Run-Through. See you tomorrow, everyone.
49:12The Run-Through is produced by Chelsea Daniel, Alex De Palma, and Stephanie Cariucci, with help from Emily Elias. It's engineered by Pran Bandy and James Yost. It is mixed by Mike Kutchman. Chris Bannon is Conde Nast's head of global audio.
49:39From PRX.
From the publisher
On Day 2 of The Run-Through’s Paris Fashion Week coverage, special guest Hamish Bowles hops in the van with Chioma and Chloe on the way to Miguel Castro Freitas’s debut at Mugler to recap a very elevated and luxurious show from The Row. Then, Nicole Phelps is joined by Vogue contributors Tiziana Cardini and Amy Verner to recap the Rick Owens show, where he reminded us that we all just want somebody to love.
Later in the show, fashion goddess Tracee Ellis Ross stops by the Paris studio straight from the Dior show! She shares lots of juicy stories, covering everything from her early days modeling with her mom at Mugler, to the advice she got from Naomi Campbell, and filming her new show Solo Traveling with Tracee Ellis Ross. Tracee also tells us why she insists on Bringing It All (BIA) when traveling and what she’s reading right now: The White Hot by Quiara Alegria Hudes. Au revoir!
The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews.