The 200 Covers of Tonne Goodman | PLUS Jack Schlossberg at the DNC

0:29This is The Run Through. I'm Chloe Mao. brings you back and feels like a real human among the craziness. And I can't wait for you to hear her original uniform when she started working at Vogue. Very different than her current white Levi's and Charvet scarf. Oh my God. I just feel like she's got stories for days. So many stories and also so many good tips. No one does it better than Tawny. Yeah, no, I've been on sets with Tawny and honestly, she has always managed to calm my nerves. She's just an oasis of calm and elegance. I know, it's like the polar opposite of me, so there we go.

1:04But, Troma, I don't know what the vibe is across the pond, but I have been so delightedly surprised by the absolute thrill that the Democratic National Convention is causing for everyone here. It's like the Oscars meets the Super Bowl every night. It's funny, I just don't remember caring about a convention this much. We're recording on Wednesday, so we've only had two nights of it. But last night, I was up till 11.30 p.m. watching Obama, crying at Michelle Obama, loving DJ Cassidy, DJing all the roll call with specific songs for each state. It was just it felt like a really fun party to be a viewer on.

1:48I mean, like, what a summer to have this follow the Olympics. I mean, honestly, I've been waking up every morning looking for highlights. I just every time I see the Obamas, I just cry. If I hear them talk, if I see them hug, I mean, Michelle's speech just, she just nailed it. Michelle's speech was amazing in her Monse suit. And Margot just published a piece about the message behind her braid. The long braid. We love the long braid. It was one of the first times she's ever worn a braid for a political appearance, which I think is really interesting. And so her hairstylist spoke to us about that.

2:24But even more exciting for me, bestill my heart, is our amazing recently appointed political correspondent Jack Schlossberg, who is not only attending the Democratic National Convention, but he is a delegate for New York. And he spoke last night. Wow. And he had such a fantastic speech. It was so humble and thoughtful and rousing. And I thought he did such a wonderful job. And so he and Hannah Jackson, who is our fashion writer, but who majored in political science and has written some fantastic dispatches from on set, on scene at the convention. They are both joining us from Chicago right now.

3:05Hi, guys. Hi. How's it going? So happy to be joining you guys. Now, Jack, I know that you are in transit, but you spoke last night. What was that like to speak to then go to the delegate roll call? I feel like it was this incredible, it was like the Olympics opening ceremony all over again. It was an honor of a lifetime for me to be able to do that. I found a way to actually have a good time doing it and get over my nerves. So it was really special, a really special moment for me. And I'm very happy to say that between me and Hannah, Vogue has a large presence on the ground. Here at the DNC, we are representing and making sure that everybody's informed.

3:43But the energy in that room and the arena is just so overwhelmingly positive. and people are so excited. So I just, I was really lucky to be a part of it. I've been watching all of the clips online and I think there's obviously the excitement is jumping through the screen, but I'm wondering what it feels like to be there and what you don't see in those clips. Like what are we missing? You know, it's so hard to capture all of the actual energy in the arena. You can't get all of the frenetic, like energy in the hallways, people running around, staffers kind of grabbing their Congress people and running with them to the next engagement.

4:24It's also so interesting to see all of the different media boxes. You can see the networks filming in real time and having their guests on. You know, anytime any state is mentioned, like even in a neutral capacity, people have been like, oh, Kamala Harris is from California. And the entire delegation like absolutely loses their mind. Jack, I want to ask you about this amazing photo of Nancy Pelosi that you posted of her caressing your face lovingly. And then someone on Twitter found an incredible photo of her as a young lady with your grandfather. Have you seen that yet? Did you know that that photo existed?

5:04Yes, I actually know that. Well, first of all, let me just say Speaker Pelosi is truly one of my heroes. But yes, she told me that that picture, she wore her prom dress to meet my grandfather when she was 18 years old or something like that, which is so, so cute. And I know that she really admired him and the way that I admire her. So it was really great to see her. And I just walked into the convention center and turned my head and she happened to be staying there. So I got to say a quick hello and get closer to her than I have before. Well, yeah, she was whispering in your ear. Yes, I know we have secrets.

5:42We all want Speaker Pelosi secrets. I'd love to know about the fashion. I know there's been a lot of talk about the coconut brown suit that Carmela wore. I loved it. Very chic, if you ask me. Yeah, I thought so, too. Yeah, the fashion at the DNC has been, you know, very all over the map. But I think somewhere where it's been really fun to see people express themselves is in the accessories. Some of the delegations will wear different hats or shirts every night. Last night, the Wisconsin delegation all wore cheese hats. I think it was the Louisiana delegation or maybe Kentucky who wore sparkly cowboy hats.

6:24So that was really exciting to see. There have been a lot of interesting buttons. Pamela's brat is very prevalent at this convention. A lot of brat green. so yeah I think the most exciting fashion is yet to come for Harris's speech on Thursday night so we have a lot to look forward to there it's also been very exciting to see uh the ladies of Alpha Kappa Alpha which is one of the Divine Nine sororities that uh Harris was also a part of so they've been out repping their pink and green and pearls so it's just been very exciting to see how people are supporting her through their style. Jack, I want to know if you've ever been to a convention before.

7:06I believe you have. Yes. I went to the convention in 2004 in Boston. I was 11 years old. I went to the convention in 2008 when Barack Obama was nominated. I was in Denver. Everyone talks about the 2004 convention. It's memorable because then Senator Obama gave his famous speech that really launched his presidential campaign years later. But I missed it because I was getting a hot dog. And so I saw every other speech besides his. But I needed that hot dog. So I think everyone would understand. Thank you guys so much. You'll be seeing plenty more of me. So talk to you guys soon. Thank you. Okay.

7:45Bye, Jack. All right. Bye. Bye.

7:51Besides the DNC, one thing has captured my imagination in the past two weeks. And I'm sorry, but Doge, you killed it. You won September issues for me because Doge is life. And I've just never seen so much joy, so many people so happy, so many amazing celebrity dogs. I mean, the photos were incredible. We had a really fun time doing this. And I have to say, I feel like the art department wanted to fillet me alive by the end of it. Because we got into the situation where typically when you put out asks with celebrities, it's like 50 percent. Like there's a scheduling issue or someone just passes.

8:34With this, everyone said yes. OK, so can you talk about the elevator pitch for Doug and what exactly it is? The elevator pitch for Dog was that a few months ago, we were inspired by Dog's all over the place, high-fashion dogs. Pilaf Demi Moore's micro-chihuahua was at Cannes and all over the world. And Vuitton, Pharrell for Vuitton did a dandy dog walkers collection. It just felt like dogs were in the fashion ether. And I was like, okay, let's do a real Dog cover series. and so we photographed celebrity doggs and made them digital cover stars and did interviews with both the doggs and the owners a dogg I hear a dogg in the background yes my dogg is in the background today how many asks were there how many dogs were there oh my god 12 doggs okay name the doggs 16 16 if you count Anna's three and Mariah's three Wow.

9:38We had Ferg, whose dog Crash was disappeared for three years and was just found. Oh, my God. And someone sent that news story around right as we were doge-ing. And we were like, oh, we have to do that. You got the scoop. Well, our big scoop was that, like, the week before Doge launched, I put in—Tim Walz was announced. And immediately everyone else was, like, asking for interviews with Tim Walz and his wife. And I was like, we'd like Scout Walz. Thank you so much. And it came through and they answered the questionnaire. It was extremely charming. On the Vogue's Instagram account, one of the buttons under the homepage on the bio is for filters.

10:19And you can click on the Doeg filter and take a picture of your Doeg. Lloyd was thrilled to see it. Cat lovers everywhere are livid, but I think they've had... Oh, I know, but there was this... Grace Coddington made them a thing a long time ago. There was this robust Reddit thread about Doeg and a Spanish-speaking user suggested our next edition should be Vogato. Vogato. That's so cute. Oh my God, Vogato.

10:49The run-through will be back in just a moment.

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11:33And we're back. Tawny Goodman has styled some of the most iconic Vogue covers. She's worked with everyone from Rihanna to Emma Stone to the Supers like Linda Evangelista. one of my favorite covers, of course, was Christy Turlington's October 2002 cover where she is wearing the silver Calvin Klein slip dress and doing the bow pose. Oh, it's brilliant. It's genius. She's also worked with Michelle Obama multiple times. You'll have to listen to hear more, but as beloved Michelle Obama is on our minds, there's so many Tawny shoots that I just gasp over still when I re-look at them today. Yeah, I'm so jealous that you got to speak to her.

12:17I remember being on a shoot with her, actually, in Ibiza with Rihanna and Marcus were shooting her and Tani was styling. And, you know, Tani just kept my nerves calm because it's, as you know, when you interview Rihanna, it's always a little bit nail biting. You never know what's going to happen next. But she was just an oasis of calm and wonderful and lovely. And, you know, she's just seen, she just knows how to make an incredible picture. Often we think about stylists as just putting the outfits together, but they also see the picture and a great stylist helps guide photographers, particularly new photographers towards what can be a really great image.

12:59And I think Tani's done that so many times. Totally. This month's September cover, which obviously we're in August, but as people know, the September covers come out in August. And Blake Lively photographed by Baz Luhrmann as this sort of fantastical heist to catch a thief inspired scene or Fantasia with Hugh Jackman and a lot of cast of cameo characters. and Tani just took this, frankly, daunting assignment and challenging assignment and handled it with aplomb. And it was so much fun to talk to her about that, but also about her incredible career. I'm so excited to hear you chat with her.

13:53Tani, I want to know, in your estimation, it's like looking at a jar of jelly beans. Can you guess or estimate how many covers you've done? Well, I did a little homework in preparation for this podcast. And the September cover that we're talking about is the 200th cover I've done for Vogue magazine. So it's a bit of a landmark moment. It's a milestone on the podcast. Ah, thrilling. Yeah, it's 200. How did you do that homework? I looked in my book, which has got a big fold out of all the covers that I had done. up until the publication of the book, and then I added the rest. Your book is a beautiful coffee table book called Tawny Goodman, Point of View.

14:37Yeah. Wow, 200 covers. What was the first cover? The first cover I did actually was with Giselle, 1999. I joined the magazine September 1999 and shot the cover right away. It was with Annie Leibowitz. Wow, and where did you photograph Giselle? Was she just coming up or was she already a— Giselle was the next issue. I believe she was—it was Stephen Mizell and it was Carmen Cass, I believe, and Giselle, the two of them on the cover together. Okay. So first cover star 25 years ago. Mm-hmm. Giselle, this September cover is Blake Lively, a beloved friend of the magazine. it was not your first cover that you've shot with Blake.

15:28No, it was my fourth. Track us back to the first Blake cover. The first Blake cover was when she became kind of an international media star with Gossip Girl. And all of a sudden there was this great beauty that was on the scene who was so, you know, charismatic and had so much style that she was put on the cover by Anna. And we put her in a black Marc Jacobs dress, which is very unusual because Anna does not favor black generally for a cover. But it was the right choice. It was a very elegant dress for her to wear. Who photographed that first cover? Mario Testino. Okay. And I have done over 50 covers with Mario.

16:14Wow. And will you describe this September issue cover because it is unusual? This September cover, I would say, is unusual because, number one, it was produced by a director. Baz Luhrmann. Baz Luhrmann. And he is best known, you know, he's a director rather than just simply a photographer. And he filmed it as though it were a movie. In what way? We had a script that we were following. Wow, he wrote a script for the shoot. Just about. He did a storyboard that illustrated all the scenes that we were going to shoot, and they were very precise. And my job really at that point was to dress the scenes.

17:04In other circumstances for covers, the scene gets dressed by what I pick as the fashion. So this was the reverse of that. I was dressing the scene per what was required in the photograph in the scene. When you read the script, did you immediately envision what clothing was going to be included? Did you see it immediately? Did it take a lot of back and forth with Baz? Well, the script was not the first thing that we got our hands on. The script we saw was actually in his head and some of it being written down as a place to track what was going on. But really, it was a visual. It was a visual storyboard that was presented originally.

17:49Pulling images from like old Hitchcock films, like what were sort of some of the visuals? The visuals were really pulling from circumstances that he needed to have. So to catch a thief, yes. And then, of course, it's boss. So instead of Grace Kelly's face, he just popped in Blake's. And then you had a complete photograph. You know, he had a complete picture of what we needed to do. Hugh and Blake were just popped in there wherever they needed to be. Will you describe the shoot for people who haven't seen it? The shoot is loosely based on To Catch a Thief. The thief in To Catch a Thief is Cary Grant.

18:32And the thief in this story is Blake. So it's a reversal of roles. and she goes after a remarkable necklace, which we had on the set with many cards, may I say. So, I mean, I have to say, I've been on shoots where fine jewelry is present and it's not a small ask. I mean, there's scheduling involved. It's like an additional talent. There's security guard. I feel like they have their own representatives. And the major necklace was Cartier. Was Cartier, yeah. And the guards there were, I mean, they were amazing. I mean, nobody could touch that thing. And if you came near it without a pair of white gloves on, you were, like, banished.

19:19It was great. It was really fun. And where was this shot? Because it looks like it was shot on the Riviera. But it was not. It looks like it was shot on the Riviera because we were at Pier 59 that has a new system. It's a surround sound blue screen. Oh, wow. And it's remarkable because you put the very, very foreground in with literal props and then it goes into the background seamlessly. So it looks like you're actually in the room, the space, all the way down to— Looks like you're in the actual casino. Well, I was interested in what the day of a shoot is like. I know that this was a bit different because it was more cinematic than maybe it typically is.

20:04But walk us through sort of it's shoot day. What is Tani doing from the moment you wake up? The first thing that you do is the pre-production. And the pre-production is a very important day because it sets everything in place for the actual action of the next day. So what happens on pre-production is the photo team is working on the lighting, setting that up so it's in place. The wardrobe team, my team, the fashion team, is setting up racks, setting up hair and makeup stations, setting up all the accessories. So everything is ready to go and ready to dress. A shoot like this requires a fitting, and we had a number of fittings with Blake, and we had a number of fittings with Hugh.

20:48and one of the fittings that we did with Blake just to show her enormous generosity and involvement was at her house on Sunday morning before the shoot. We had one more dress that really needed to have a second fitting. So I came with my assistant and with Willow, Divine Willow, who's not present today, unfortunately. Willow Lindley, who is our market editor. She's more than the market editor. She's the, you know. We'll call her the market maestro. The market maestro, let's do that. I think that's much better for her. We and the tailor, and we descended on her house, her apartment, on a Sunday morning with all the children and the dogs and with her divine husband.

21:33Ryan Reynolds. Ryan Reynolds. They have four young children. They have four young children, a very new one, essentially. And they have two of these amazing dogs that are huge. Do you feel that she's really a fashion girl who's excited by the dresses that are coming in, the fashion that you're looking at? Is that part of a collaboration? Oh, no, no. Blake is fashion personified. She loves fashion. She loves vintage fashion. She's got a great collection of vintage. Oh, did you see it? Yeah. She's got a closet full of it. I mean, we should do a shoot just on that. It would be amazing because there are so many different characters that are represented by clothes through the decades.

22:20And it would be a wonderful shoot to do. In fact, I think I'll recommend it for a thought. Does Blake really style herself? That's sort of the lore. Yeah. Oh, yes. She doesn't need help. That's for sure. So, Tani, I want to know, you see these storyboards, you read this script. And, for example, there's one shot that I love of Blake and Hugh riding on a Vespa with a polka dot dress that's billowing in the wind. How does it start for you to go from seeing a storyboard and reading a script to actually getting to that polka dot dress? Well, you know, you have somebody on a Vespa. She's a glamorous girl.

23:00She's on the Riviera. You want something that has a graphic that is eye-catching. Polka dots are certainly eye-catching. Did you know the Vespa would be red before you chose the dress or vice versa? Did you choose a Vespa color based on the dress color? We did it together. Okay. It was a joint decision when, you know, Boz, first of all, is one of the most wonderful people to work with. Interesting. Okay. He is so at the ready to exchange ideas. He is, you know, there's no hierarchy at all. Everyone is the same. Everyone has something to contribute, and he listens to everything. And it's a collective decision that is made with Baz.

23:42I mean, he's fabulous. And CM is— CM is Catherine Martin, who's Baz's wife and who often does all the costumes for his films. Yes, and she's wonderful. And between the two of them, it was just a joy, really, to work with them and to figure things out. So the dress needed to have a point of view, which was movement. You know, they were zooming down the, what was that, that road in the Riviera that twists and turns around the mountainside. So the more volume I could get, the better. That would really blow. So when you think, I need volume, I need graphic, we decide together it's going to be a red Vespa.

24:26Do you then go to Willow and Co. and say, what do you think about this? Do you go on Vogue Runway yourself? Do you think back to some of the fashion shows you've seen last season and recall anything that stuck out? I think the most important thing to really acknowledge is that it's not about me. It's about us. It's all, you know, it's a very, very collective piece of work that we all do. I mean, Willow is a genius. She knows every single thing that's in the marketplace. So immediately I go to her and to Virginia and we start to brainstorm and, you know, which collections do we think would fit the bill the best.

25:03And it's really a decision that we all make together. And when you show them to Anna, can you describe a run-through and what that looks like and what it consists of? Before there's an actual run-through that involves having the clothes in the office with Anna, there is the paper one. And she goes through and she takes a look at it and she weighs in. And then based on that, we call in the clothes. And they go onto a rack and that rack gets wheeled into Anna's office. And then there is a presentation where you describe, you know, you show the dress, show whatever its asset is that you want to make a point of, and then go from there.

25:47Okay. The first shoot that I did for Anna was with a celebrity, and there was a dress on the rail, and Anna said, I really don't think you should bring that. So I didn't bring it. It turned out it was the kind of dress that I really needed for this particular celebrity because it had the kind of support that I needed for this celebrity. Can you share who the celebrity was? It was Heather Graham. So after that, I thought, you know what? I mean, as much as I respect Anna's opinion, which is flawless generally, if I have an instinct that I'm going to need something, I just say to Anna, I'll keep it in my back pocket.

26:24And more often than not, in fact, the dress that has appeared is that one that I kept in my back pocket. What's another example of that? Well, there was when we took Carly Closs to China and the rack sort of started to define itself with a overview of red and silver. And there was a dress that was gold from Stella McCartney, and it was like a tunic that looked like ancient Chinese something or other relic. And Anna said, do not take that, Tawny. Don't take that because it's gold and we're doing, you know. And I took it. And, of course, it is the opening photograph. She's on the Great Wall. I remember that.

27:14It was the right choice for that. So Tani, I want to know, I feel like there is so much interest and devotion to your personal wardrobe and uniform. And I feel like you don't love to talk about yourself, but I still have to ask, can you give us sort of credits for your daily uniform? Because no one is chicer than you and you're always in the same thing. That's true. I mean, it's true. When I started at Vogue, I had a uniform. This was, you know, quite a while ago. So my uniform was a pencil skirt, kitten heels, fishnet stockings, and a black turtleneck. Oh, my God. Tani, I'm shook. Yep. Wow. That was it.