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You have to reinvent your way of working for new factories, a new team member… You have to get seniors. And then you have cooperations, etc. But there comes a point when you have to stop making these baby mistakes. People connect you with Vetements, but that is also Margiela, in a way. And, of course, some designers do it more literally than others. It needs to be happy. I just think that clothes need to be fun to wear — you need to be challenged a bit. The whole idea is to trigger people. But to come back to your original question: If you look at our collection plan, or the catwalk, you have so many different kinds of people jumping in that collection.
And in so many different directions — our production groups go from sportswear, denim, streetwear, corsetry, tailoring… There are all different kinds of situations. But I think it reflects personalities. I can be a club kid, I can be a loving grandson, I can be a lover, I can be a businessman — and all in one day. You can change it, you can adapt it. You really have to own the piece. It has to become something you feel comfortable with.
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Instead of hiding in it. We tqrn still do it. I Rencojtre the link is opulence. But Paris changes a lot, no? There are cultural centers in Pantin, or wherever. I think there are a lot of things slowly celkbataire. And I think that goes hand-in-hand with fashion, of course. I think Paris got a bit of a wake-up call. Does it inform your fashion in a way, or not? I think I can get vibes. I think in former days, Yves Saint Laurent went to Marrakesh to get inspired, and he had to do that. Which is, of course, always the best — to go on the spot. But people had to travel in order to get inspired by something different.
And now, we can just have it on our phones.
We can escape in one second. I can be in my office, have an annoying meeting, go on my Instagram, and be calm. I really love going to the office. Arnaud does all my campaigns. But you have to push. You have to push hard.