Ms. Fen, a wholesaler, has glossy black hair and nails. She is twenty-eight years old. When we meet, she pulls up in a white Aston Martin, pristine except for a crack on the right rearview mirror. She is wearing an assortment of beautiful clothes: distressed jeans, a négligée tank, a forest-green Chanel bag. She’s aware of what this all conveys. ‘People see me and feel envy. But they don’t know what I went through to get here.’
A Conversation With Virgil Abloh
I did a fashion show recently called ‘Nothing New.’ It was based on criticism I got from another designer. So I took that statement and tried to unravel it and make it into a question. Does fashion have to be new? What is new anyway? Does fashion have to be new to be valid and relevant and important? People often lob ‘it’s been done before’ as a critique but without asking themselves those questions. ‘Newness’ has become the barometer by which we judge things in fashion. Does your jacket have three armholes? ‘New’ is a farce to me. It’s a critique intended to keep people like me out.
A Conversation with Miuccia Prada
‘Censorship is huge now. Basically you can’t say anything interesting on the record. I did an interview with a very important journalist some time ago, but then I told him to cancel eighty percent of what I’d said. I know that makes me the censor but I don’t want to ruin my life over an interview. I have responsibilities. It’s hard because whatever I do, someone ends up being upset. A company our size has to think about everything. I made the choice not to be niche, only for the sophisticated few, so I have to accept the limitations of that choice.’
A Conversation with Demna Gvasalia
‘I like playing roles; it makes me feel safe. Authenticity for me perhaps means something different than for most people. I don’t have one interpretation of authenticity when it comes to style; I like moving between them. When I wear a sweatshirt with ‘Monoprix’ on it, what am I signalling? Am I saying it’s cool to work at a supermarket or am I making people ask themselves why I’m wearing a Monoprix logo, when I could be wearing one from Balenciaga? Well, you tell me. Obviously everybody knows that I don’t work at Monoprix, well everyone who knows me does anyway. If a stranger sees me in the street wearing my Monoprix jumper, they might think I really do work there and I quite like that.’
If you search ‘Armani jacket,’ you get one million versions of the same thing, with slight adjustments: golden buttons or silver buttons, big sleeves or short sleeves – all these modifications. And there’s a little bit of creativity put into every version of it. There is something strangely appealing about it. I think about our place as designers within an ocean of images and garments, a kind of melting pot. Originality is about figuring out how to use those components and play with them.