What if you discovered a door to the past that allowed you to step into the shoes of a groundbreaking figure in the world of fashion? Join us as we pull back the curtain on the life, struggles, and triumphs of Donyale Luna through her recently released documentary on HBO Max.
In this captivating journey of discovery, we'll dissect her often painful experiences as a black woman in the 60s, her path to London and Paris, and her contributions to the world of fashion. We also dive into the tailoring world of the 60s, uncover the influence of the late Danielle Vreeland, and reflect on Maximilian for Farragama's collection. We couldn't wrap up fashion week without touching on how Balmain was able to recover from their devastating robbery just days before the collection was set to hit the runway. From discussing the nuances of creative directors taking on new roles to pondering about future red carpet trends, our conversation is a rich tapestry of insights that you won't want to miss.
We couldn't wrap up fashion week without touching on how Balmain was able to recover from their devastating robbery just days before the collection was set to hit the runway.
Like, subscribe and be on the look out for a new episode every week!
Credit and special thanks goes to:
Produced by: Aziza Duniani @woman_Business
Music supervisor: Chic loren @chicloren_
Music by: Gavin Williams @thegavin1
What if you discovered a door to the past that allowed you to step into the shoes of a groundbreaking figure in the world of fashion? Join us as we pull back the curtain on the life, struggles, and triumphs of Donyale Luna through her recently released documentary on HBO Max.
In this captivating journey of discovery, we'll dissect her often painful experiences as a black woman in the 60s, her path to London and Paris, and her contributions to the world of fashion. We also dive into the tailoring world of the 60s, uncover the influence of the late Danielle Vreeland, and reflect on Maximilian for Farragama's collection. We couldn't wrap up fashion week without touching on how Balmain was able to recover from their devastating robbery just days before the collection was set to hit the runway. From discussing the nuances of creative directors taking on new roles to pondering about future red carpet trends, our conversation is a rich tapestry of insights that you won't want to miss.
We couldn't wrap up fashion week without touching on how Balmain was able to recover from their devastating robbery just days before the collection was set to hit the runway.
Like, subscribe and be on the look out for a new episode every week!
Credit and special thanks goes to:
Produced by: Aziza Duniani @woman_Business
Music supervisor: Chic loren @chicloren_
Music by: Gavin Williams @thegavin1
What's up y'all? This is Sheeg Lorraine, and welcome to We8. We're spilling the tea on all things fashion, film and television, giving you an exclusive peek into our perspective on style and design. I am a self-care enthusiast music and costume creative.
Speaker 2:Hello, I'm Mia Nunnally, costume designer and creative director.
Speaker 3:Hi, I'm Isi Chevelle. I am a costume designer, event producer and all around professional dot connector.
Speaker 4:Hey guys, this is Winter. Alex, I am interior designer, costume designer and personal stylist to all. Then I own the Manner Co At TheMannerco.
Speaker 5:Okay, hey y'all, this is your girl, lizisa Dunyani. I am an assistant costume designer, slash multi hyphenate creative. You can catch me anywhere, modeling to doing photography, to producing this podcast. I'm so happy that you guys are here with us today. We have a nice little episode. We'll be talking about Donnie El Luna as well as some of the fashion shows that have happened in the past couple of weeks, because we are still in the swarm of fashion week cuneen all over the world.
Speaker 5:So let's start it off with Over the Line, and last week we talked about Donnie El Luna's documentary on HBO. Max was coming out. It came out last week. A couple of the girls have seen it, so we really want to hear what you all thought about the project, what you thought about her life story. I had to not finish. Let me not lie. I ain't watched it yet. Okay, I'm going to watch it eventually. So if you haven't watched it and you want to get a little tidbit, yeah, ladies, tell us, tell us what you thought about it. Mia said it was heavy, so I'm curious to find out. I thought it was heavy.
Speaker 2:I thought it was a beautiful dark, twisted fantasy. But it was heavy. It's so much, too complex, it's so much. I'm going to be honest, I do not care for documentaries wide away. That's not my first thing to jump to Really, and no, I don't. I love to be fantasized. I love fantasies and fiction and I don't want to be in real life and documentaries are too real. And it was real and I was on the Belt Line damn near, and two years.
Speaker 5:I was like I can't.
Speaker 2:I thought I knew who Donnie El Luna was because as she said last week we put her on our cards at the store but I didn't know who she was.
Speaker 1:She was complicated, she didn't know who her was, yeah, I did not finish the documentary but I was like, wow. Now I understand why, because I remember learning about her back in the Pia poor little rich girl days. She had issues with saying she was black, a black woman, and it was because, watching the documentary, you get to connect with the fact that she wasn't accepted by her community as far as her look. She looked different. She had this elongated neck, these bright, beautiful eyes. She was different. So the black boys didn't want her. And then you're in the 60s and this height of racism and it just sounded better to say, oh, I'm mixed with this and the different ethnicities that she claimed to be a part of and you judge her as a black woman. I remember saying, damn why, you ain't want to be the black girl. But they made her. No one ever accepted her. They would love her for a minute, and then there was always a limitation they couldn't keep her on the cover of Harper's Bazaar because she was too black for the readers, their audience.
Speaker 2:So they drew her. Yeah, Wait what they drew her. She was an illustration. And they made her look like a white woman, and when I saw that it reminded me so much of our Beyoncé's and our Zendaya's, particularly our light-skinned black women, and how they put them on the covers and they make them look whiter.
Speaker 5:Mm-hmm, like the paper bag, the brown paper bag, yeah, and the era of media and not putting black women in media and television unless they were lighter than a brown paper bag Right.
Speaker 2:But it was relevant to today.
Speaker 3:Mm-hmm.
Speaker 1:Yeah, it's just, they do it a little bit more. Did they say it? Yeah, they're sneakier with it?
Speaker 5:Absolutely, did they say anything about that having to do with her move to Paris? Absolutely, okay.
Speaker 1:And they because she went to London next, right, I think it was London and then Paris you went to.
Speaker 2:London and Paris. So she went to.
Speaker 1:I mean, she ended up in Italy yeah, she went to London next and like they were loving her out there and a lot of things took off for her, and then she ended up going to Paris. But yeah, it was, it was she got more next level right. More gigs when she went to London. You know they were just a little bit more open to her, a little bit more cultured. Had a different eye.
Speaker 4:No, no, no, no. She said I'm not gonna move you and I come from the mood and I think that was great.
Speaker 1:Like I said, I remember her judging her for not wanting to claim all in herself as a black woman, but like hearing her story and saying, like this is why and she connected with something creative, with the moon and some type of I would imagine, some type of spiritual connection and she owned that shit, she embodied that shit and I thought that was cool and I was like she was just trying to find a way out that was my experience.
Speaker 3:I kind of feel like, yeah, similar to what you just said about like the disappointment of like girl, you black and you from Detroit, like so just keep it real. I do feel that she and that's why I said it was kind of sad, because clearly there's identity issues there might even have been some mental health issues.
Speaker 1:There's, that's a show right on.
Speaker 3:But I feel like it's kind of like what we say of separating the art from the artists. Because you were a big name overseas at the time to have really been an ally, or not even an ally of force. First of all, you can't be an ally, you. You is us.
Speaker 5:You is us.
Speaker 3:But to have brought in, brought awareness to what was going on back home. I think she was so far removed from what was going on, I mean, but you still your mama there, your daddy there, your sisters are there, so you know the gravity of what is happening back home and even her daughter's name.
Speaker 2:Dream, remember her mama shot him.
Speaker 3:Yeah, jesus Christ, even her daughter's name dream is supposed to be like a nod to Martin Luther King's. I had a dream speech and that's where she came up with the daughter's name and it's kind of like you know, you could have done more to bring awareness, especially to people who are further removed because they're European or whatever the issues plaguing the black community. And she kind of chose to instead say I'm this alien from out of space Versus I'm a black woman, because I don't know what the aliens fight was.
Speaker 2:I don't know how bad they was discriminated against.
Speaker 3:So if water hoses was being but the black folks was, you know, and you could have used your voice for that, but I saw an interview, she did say I'm black, I'm white, I'm this. I'm that she can. She spoke to like Afro.
Speaker 4:Egyptian. I also think her fight may have been different, like just the fact that she was a black person in an all white space and she was pushing to be on these covers and pushing to be in this fashion world. That they kept telling her, no, like that's her own fight as a black person. Maybe she couldn't identify, as this is just me right on black power, but yeah, I'm here.
Speaker 4:This is me being present and I have to create this circle or this spear that I can just encompass everything else that's going around. Otherwise I'm going to get in confidence. It's like us being in shit every fucking day and how much you got to say yo, I'm a step over here. Why is a whole lot of shit right here? You? Know what I'm saying Just so you can get through your fucking day, your weekend, your year, because otherwise you're going to be consumed.
Speaker 3:But my thing was she was asked point blank, like she didn't have to volunteer it and be like so today I just want to talk about the brother man. But they would ask her flat out Like so are you? And she would just be la, la, la, la, la la la. That was the moon and the stars.
Speaker 5:I mean I think if, but if, if what her like to Winters point, if her struggles, her everyday struggle, right, was enough for her to be like covering and removing herself to the point of taking drugs and doing all these things and living this like ethereal life.
Speaker 5:That was just to protect her from the one, from what she got to do every day. So, like you know, this is a testament to even us in this room, or creative lives in the world, or black people in the world. It is okay. Sometimes your presence is the present and sometimes you know the fight for the group that you ain't Malcolm, you ain't Martin, and that's fine. You know what I'm saying. Sometimes you just being present and you just being you and showing up every day is enough, even if it feels like that's too much. You know what I'm saying. So I feel like that is probably where she was coming from. Like I'm, I've lived the life. I got to hear my mama crying on phone, talking about whatever, and you know what I'm saying. There is all these things going on in the world. I'm internalizing them, but the way that I deal with it is just to deal with it for myself.
Speaker 2:Right or I?
Speaker 5:can't deal with it for everybody else, or otherwise I will die sooner.
Speaker 2:Or because she have just been driven and the way to be in that space is to lie about who she is. I mean, we all do it all the time, maybe not being black but, being in a space where you have to lie about who you are in order to be Assimilate yeah, assimilate, assimilation, or whatever it is. Or in order for it to be this model, she has to be exotic.
Speaker 4:What do we do, what's it called, when we switch code switch? Exactly I mean it could be code switching.
Speaker 3:Her code switch would lie to myself.
Speaker 2:I don't mean everyone's meant to be fighting the fight.
Speaker 1:No one ever like accepted her, like they would love her for a minute. And then, you know, there was always a limitation, like they couldn't keep her on the cover of Harper's Bazaar because she was too black for their readers, their audience, so they drew her. Yeah, wait, what they drew her.
Speaker 2:She was an illustration and they made her look like a white woman, and when I saw that it reminded me so much of our Beyoncé's and our Zendaya's, particularly our light-skinned black women, and how they put them on the covers and they make them look whiter.
Speaker 5:Like the paper bag, the brown paper bag. Era of media not putting black women on in media in television unless they were lighter than a brown paper bag Right.
Speaker 2:But it was relevant to today.
Speaker 5:Did they say anything about that having to do with her move to Paris?
Speaker 1:Absolutely, because she went to London next, right, I think it was London and then Paris. So she went to London next and like they were loving her out there and a lot of things took off for her, and then she ended up going to Paris. But yeah, it was, she got more next level right. More games when she went to London. They were just a little bit more open to her, a little bit more cultured, had a different eye.
Speaker 5:But you were about to say something I was, but it was going to be a testament to the creatives of old going, especially the black creatives of Carmen's Right right, josephine Baker, james.
Speaker 1:Baldwin.
Speaker 2:Absolutely yeah and.
Speaker 1:But it speaks to them being able to and that was something that was mentioned them being able to be artists and not just seen as black. I mean, it's a beautiful thing to be a person of color I will say a brown person, you know what I'm saying and be able to be free in our art. And that's what they go and do when they do travel overseas and I can appreciate that very much. My bad, I see.
Speaker 3:So I will say I love documentaries and I did not know anything about Don Gale Luna prior to you all introducing her. I found it very nuanced. I did think it was. It was sad.
Speaker 3:Just her story overall is very sad. I see a lot of self-esteem issues, a lot of perhaps even mental health issues, addiction issues, and she really just so desperately wanted to be accepted and I think that ultimately led to her downfall. What I found interesting is that she's not a household name and we don't really know a lot about her, even though she came along before Beverly Johnson, who is who we typically call the first black supermodel, and she has, like I don't know, eight to ten years on Beverly Johnson's career. And even Beverly Johnson, who was a part of the documentary, was interviewed and said that she did not know about her or her story and even had some really tearful moments because of the similarities in her stories, of the adversity that they face as being black models. It's definitely a great documentary that is being shown on Max, hbo, max right now, and check it out because it's really enlightening for anyone who loves fashion and wants to kind of know about the four founders of that industry.
Speaker 2:And do you think it's very important?
Speaker 5:Did they say anything about her demise being part of because she died at like 33 or something like that, how short her life was? Did that have anything to do with the fact that her name isn't so I don't know well known in? I guess I would just say in the black and brown fashion space I wouldn't say like in general, but you know what I'm saying. Like she didn't get her due because she died so young or how she died.
Speaker 3:I think she was. I think that she didn't get her props here in America because she was mostly that girl overseas, whereas Beverly Johnson was on American Vogue, so it's kind of like Danielle March. So she could run out of that and they rejected her.
Speaker 2:I would say American Vogue rejected her. They talk about Deanna, they call it Deanna Deanne Vreeland, but I knew her as Deanna Vreeland, which was the previous editor-chief of American Vogue for years before there was Anna Wintour. They rejected her. They referred to her as a monkey.
Speaker 3:Oh what.
Speaker 2:When they read that article to oh my god it was real, it was real.
Speaker 3:Yeah the way they said it, though they didn't like blatantly call her a monkey, but they insinuated it.
Speaker 2:Before she passed away, pat Cleveland, another model, black model talks about Danielle Luna coming to her and it almost came full circle because Pat Cleveland, who was a black woman, and they were in what? Paris or Italy, london? They were in Rome at the time a black woman in Rome and said could you help me? To me it was just dark.
Speaker 4:That's just like my stand call.
Speaker 2:A little bit it did Like you felt you, it was like speaking to your sister in a way and saying I need you.
Speaker 5:Yeah, and she that's like lonely.
Speaker 2:Oh they talked about how lonely she was.
Speaker 4:She created this character for herself. It was very in a world of her not even being from here. And it was not only for protection but for sanity too, because she just didn't know her in the world. Was she accepted? She wasn't accepted at home. She was accepted in New York, she was accepted in Paris. And then when she got found, her dude, she still got rejected because she could come to the house. Oh my god.
Speaker 1:Crazy nice.
Speaker 4:It's so much like how much. And so by this time drugs were still pretty heavy on the scene. And one thing about the documentary I like that they kept it so quiet about her drug use. When I first started studying her back in our P-largy days, the first thing I realized she was a heroin addict. But they didn't even speak about that to the very, very, very, very end. So heroin was around and she was using like they talked about her disappearing for three days off of the acid. God knows what else she was doing.
Speaker 4:But, they didn't want that to be the ideology of her story.
Speaker 2:Yeah, I mean her daughter was telling the story. Yeah, and give her her due of the art you know, what I'm saying With the respect, yeah.
Speaker 5:The respect of the art. Give it that space and then you know. Of course it's part of the reality of the thing, but you never want to overly highlight the detriment or the demise of before showing what. Had somebody shined so bright, like you know, or allowed somebody to shine so bright? It's really important, you know.
Speaker 1:I think to have a connection to people who are very creative and have drug abuse in their lives. I think it's beautiful to shine the light on what they are great and give to act. I think that's really beautiful.
Speaker 5:Yeah, I agree. Ok, well, man, that's heavy.
Speaker 3:But as the one person who didn't watch it.
Speaker 5:I'll be watching it for sure. I mean, I like stuff like this, which is very interesting that you don't Mia, because you just seem like the girl who's like take the black and white.
Speaker 4:She'll watch the black and white fashion documentary. She watches the fucking American film, the American murders and stuff.
Speaker 3:Yeah, that's what I'm saying. We always be talking about. That's what.
Speaker 4:I mean, that's a.
Speaker 2:British murder mystery I like Father Brown on BBC. Hmm, oh OK, I like the fake shit, not a real shit. Yeah, not real life.
Speaker 5:Fake shit, fake shit and you don't want to see anything where somebody has an emotional tie or, like I find some connection to that person.
Speaker 2:It takes me a long time to get away from it. I'm going to be thinking about that. Yeah, for the next two.
Speaker 5:Ok, so on to the next. We just are lovers of fashion and lovers of beautiful things, so we're just going to give a nod to the fashion shows that just happened this past week. Milan and Paris is actually kind of like simultaneously A little bit.
Speaker 2:It just started. Yeah, milan just ended, paris just started.
Speaker 5:Paris just started. So our kind of, I think, a mutual highlight is Maximilian for Farragama. We love the black man doing the things on the runway. He just I don't know he took classics and elevated them and didn't do too much, wasn't too outside of the box when it came to this last collection, but it just was so clean, so well executed and especially for Farragama, who is traditionally a accessories and shoe brand, it's just a beautiful thing yeah.
Speaker 2:I thought it was so before I looked at Farragama I mean before I knew about Maximilian I looked at Farragama's show and I was like damn, this shit got some flavor to it. There's something very flavorful about it and subtle, and subtle.
Speaker 2:It didn't take away from Farragama's show. And then I saw him. I was like oh shit, that's a little brother out there. Then I listened to an interview on Vogue Runway and he mentioned his roots going back to Trinidad and how he did the thing, and you could tell that on the runway there was a slight little mm.
Speaker 5:Yeah a little false, a little something.
Speaker 2:Because Farragama can be kind of bland. It was for the maims, very classic. It was for the maims. That classic ballet flat still hit though, that Farragama flat on the bow, with the bow here she goes.
Speaker 5:If you haven't seen it, check out the runway. You can watch the pieces of the show. Just as a little backstory for Farragama, like I said, it's a very for the maims kind of brand. Traditionally. Salvatore Farragama started off. He's a shoemaker way, way back in the long, long time ago, days before, there was a fashion house for Farragama. He was making shoes for film and television costume designers and he had a little shop in Hollywood and the costume designers would come and get shoes made for the actors that were comfortable, like a heel, super comfortable. I mean, it's a beautiful time because we all work in film and television world.
Speaker 5:And that is where the brand originally ascended was the stars of old from Hollywood and film and television would go even when Salvatore Farragama closed his shop down, moved it back to Italy or France, wherever he was in Europe. They would go back and get shoes from him specifically and then thus built the house of Farragama. And for a long time we black little black girls wasn't really talking about Farragama because it was very mayonnaise. I would say you know what I'm saying. But they didn't ask some garlic and made that shit.
Speaker 4:They only like, okay, okay.
Speaker 1:And a little spice and a little jerk powder Jerk powder.
Speaker 2:What's happening? A little soap, but very subtle.
Speaker 4:It's still Farragama.
Speaker 2:Like you can only do what you can do. Yes, but it was super subtle, but you could feel, it was a feeling you could feel it.
Speaker 1:It's still clean, very clean.
Speaker 5:Yeah.
Speaker 1:Yeah, it looks great, and it wasn't a bunch of sheer.
Speaker 5:It wasn't a bunch of, you know, spandex, spandex, rocker, vibes and humps. It was close. This is nice you know, with beautiful structure.
Speaker 4:Look at that, and I think this is quality fabrics too. Yeah, absolutely. Great detail, absolutely.
Speaker 1:We'll definitely reference a few of our favorite things on Instagram. So, y'all follow us there to catch. We ate podcast I was gonna say that there is a green leather cake dress.
Speaker 3:That shit is phenomenal. That's the only thing that caught my eye out of everything.
Speaker 1:Okay, that belt where I'm going with that. No, that belt was sick.
Speaker 5:That belt was nasty.
Speaker 1:That belt was something to talk about.
Speaker 4:You're going to one of your mini events.
Speaker 1:Yes, honey, because you got events. There's social life here.
Speaker 3:That belt got laid so it could carry me. That thing looked heavy, it probably did, and everybody can't wear that, but it's wicker right.
Speaker 4:It looks like it's a.
Speaker 1:I would love to try it. I love it.
Speaker 4:It's straight it looks like a wicker one too, like more of a natural fabrication.
Speaker 1:I do want to touch on Balmonde's line, and I you know it's the one that was stolen.
Speaker 4:Yes.
Speaker 2:That was stolen.
Speaker 3:That made it back to the runway.
Speaker 4:Is that what?
Speaker 1:happened. It made it back. What happened. What happened? Or did they get that shit done real quick?
Speaker 4:You know this story resonated while we were. She can know, I was on the way somewhere and I was on the phone with somebody. They were like so he said that so he could get his insurance money and I was like how would you know that he was like? Because I bet you he's a n***a.
Speaker 5:Oh, this is an African black man, he's embracing.
Speaker 2:How to do it. You know, he thought he was mixed up until he got a DNA test. I know you're lying. No. So he was adopted, so he was adopted, so he wouldn't know, but because of the way he looks, he thought that he was black and white and I think he was French. So he was French, okay, and he got his DNA, his ancestrycom and one, two and three and me, whatever it was called, and he said oh, you're East African, 100%, he's all fucked up.
Speaker 4:Oh, so he is all the way, he is African.
Speaker 5:I don't know where people go, I do want to say that I thought the line. I thought the line looked great it was a lot of flowers, a lot of roses, a lot of flowers. This is Bob Mann. Yes. It looked very Mac-da-bootrammed With the bows and the flowers.
Speaker 1:I do like the flow and, to your point, aziza, definitely the 80s with this striking shoulder pads, the striking shoulder pads, the breast. Right, how it. What's the?
Speaker 3:word I'm looking for Senses at the waist.
Speaker 1:It senses at the waist, but it looks like a dainty Something about it looks like a dainty rose, like right here. It's like an upside rose or flower with her skirt, the flow of the skirt the pink. So, to reference what I'm speaking of, it's a piece going down the runway and it's a green suit jacket with double breasted suit jacket with gold detail buttons, and then this flouncy, whimsical, asymmetrical style skirt, Mini skirt, and it's got a lot of movement to it. It's beautiful.
Speaker 2:Yeah.
Speaker 1:It just looks like an upside down rose, upside down flower.
Speaker 2:Yeah, I'm ready for him to do something different.
Speaker 1:Yeah, I know, it's not his fault.
Speaker 2:I feel like there is. He's answering to some higher ups. I'm sure he is, but my man is to me has been the same forever thing, forever.
Speaker 5:I think he a little bit. If we're going to talk about that, I feel like what to what she could say, his adding of a little bit more softer silhouettes, softer fabrics, more A-lines. That's very left for Ball Maul.
Speaker 1:I think he's adding a touch of something different, but it's not really taking us there.
Speaker 5:It's like I'm a little old and add a little bit and we're like we see it, it's not subtle, you know yeah.
Speaker 3:I mean, we've seen it. So as the non-r runway high fashion girl.
Speaker 3:I'm just wondering how much evolution we should see season by season of that's a good, how much evolution we should see season by season because your ethos, your brand's identity is a certain thing. So if you put a flower on everything and you known for being the one with the flower on everything, I don't know how fair it is to be like God dang, it's been 40 years of flowers on everything. I don't know how much do they have to stay true to their brand identity? So maybe y'all can answer that for someone like me who doesn't know.
Speaker 2:Oh wait, I'm sorry I misspoke. I have to say this real quick before we get to what you just said. I did not look at the entire Ball man show.
Speaker 1:That is my bad.
Speaker 2:I did see. When I first logged on to ball runwaycom, all I saw was those same double-breasted jacket structure with those buttons, the floral that we speak of down here the floral that we speak of is not ballman, typically ballman, and so I am very, I'm excited about that. So that's my bad, anyway. So what would you say?
Speaker 5:So I see, I think to add a comment to your question, which was the question was how much differentiation are we supposed to see season to season with these old-fashioned houses that are traditionally the same and created like a brand identity? Right, I think, when you're looking at it, the small nuances. For instance, these 80s inspired blazers will bomb off, but instead of being that tweed chenille type vibe, they put florals. Like you know what I'm saying. It's a small nuance, but the same structure and I feel like, maybe, if you're switching the fabrication and keeping the structure that you're true to, or switching the structure and keeping the fabrication that you're true to, I think those are the small things, especially when you're seeing a new creative director step into that world. That's kind of what you want to see Like. Otherwise, we could have just kept the old creative director.
Speaker 5:I got you you know, I think that's, I think that's really. I don't know if anybody else has anything to say to it, but that's that's how I feel.
Speaker 2:All right, I so you. You're asking, like the non-fashion girl, for the non-fashion girl.
Speaker 3:I think I think that the question answered itself because you said that once you saw the full show that you saw there, there was some evolution there. My initial question was like how can we be mad at these houses for giving us their signature looks time after time. So I think between you saying, oh my bad, I do see where there was some innovation, and Aziza saying you know that there is some innovation there as well. That's real cute.
Speaker 1:That's fucking fantastic.
Speaker 4:Look at that shit. Are those Rosette's Mitch? Is that a?
Speaker 1:like that. It looks like who gonna?
Speaker 2:who gonna put that shit on her hair? Who gonna wear that on red? Let me see.
Speaker 1:Who y'all see that in the change of color that he did in a mess fabric? Who do you see wearing that on a red carpet?
Speaker 5:Olivia Rodrigo, who that candle Can well, she wear anything, yeah, she can, but that's why I said it was a lazy answer, but she yeah. Oh my girl, what no chocolate, jodi, oh yeah yeah, yeah, different color.
Speaker 1:I wouldn't want it to be black. Yeah, I wouldn't want it to be black.
Speaker 3:I feel like this is very versatile for any Jodi Ternesmith.
Speaker 1:Jodi Ternesmith, she can do anything, anything but who?
Speaker 2:yeah, Paisley wife, We'll put it in. We'll put it in the nose.
Speaker 5:Yeah we'll show the picture in the show nose because it has taken us a back honey, yes.
Speaker 4:Y'all gotta see this. Did he come back and say which pieces were stolen?
Speaker 1:No, that's what we wanted, no because he said 50 pieces were stolen, but there's 55 pieces in the show.
Speaker 5:So I'm like, or maybe it was 55 photos, so you know there's more than 55 pieces. He's seen this. It's been a week that I tell you. Yeah, it wasn't there working.
Speaker 2:They said that Otherwise it was never stolen yeah.
Speaker 1:Well honey, the shit looks great okay.
Speaker 4:Yeah.
Speaker 1:Whatever happened.
Speaker 4:Whatever time you needed, I'm glad you took it, baby, I'm glad you did.
Speaker 1:Baby, because it's show.
Speaker 4:It looks great.
Speaker 1:It looks good this rosette, it looks good.
Speaker 2:It looks good. It looks good. Let her know this, let her know that, oh yeah, that's bad.
Speaker 5:Thank y'all again for listening to another episode of We8 Podcast. Like I say every week, we really do appreciate your listenership, your support. I know this was a really quick episode, but we had to get the last bit of our fashion week you know jitters up out of us For next week we will be talking about how the regular girl eats the streets, giving style tips, advice on how to build your closet and where to shop on a budget. Until then, we love y'all. We'll see you next week.