Yeomanry House, London
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.