Yeo­manry House, Lon­don

The Daily Telegraph - Telegraph Fashion - - CREATIVE FLOW -

We have this show space in cen­tral Lon­don that we al­ways use. We use the same benches we’ve al­ways used and we change el­e­ments. [For a/w15, pic­tured, left] we made ev­ery­thing very, very nar­row so you were kind of forced into the char­ac­ter. The car­pet [car­pet tiles with a graphic 1980s geo­met­ric print] was this idea of of­fice life.

I liked the way that where you were sit­ting you were not al­lowed to take in the en­tire look [be­cause you were so close up]. The look as an en­tirety I al­ways see as the fi­nal im­age, which is what the pho­tog­ra­pher takes from the end of the cat­walk. So I liked the idea that you have 500 peo­ple in the room with 500 phones each tak­ing a com­pletely dif­fer­ent mes­sage from it. I liked this ap­proach – the ex­cite­ment you have when clothes are whip­ping past you and then you start to puz­zle ev­ery­thing to­gether, then you see it on Instagram, Face­book and style.com. Ev­ery piece has some­thing to say. I don’t think peo­ple should wear a full look of what we do. You need to ex­tract it. The minute you see peo­ple in en­tire looks of a brand, to me it looks like cos­tume.

I see my­self as a cre­ative di­rec­tor, not a de­signer, so the cri­tique for me is as a brand not an in­di­vid­ual and I think that has helped me to de­tach my­self [from the show re­views] be­cause it is very per­sonal. Ten times a year you are get­ting cri­tiques, will­ingly. It’s a very odd process, and if you were to con­sume ev­ery­thing that is writ­ten it would send you men­tal. Some­times think it’s good that peo­ple don’t get it. It shouldn’t make sense now.

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