What would you say has been the biggest change over the years?
You evolve technically. You look at some early collections and say, “Okay, good effort but maybe not as well-achieved!” You see the evolution, and the transitions and narratives.
What do you find exciting in fashion right now?
The changes are allowing each designer to beat to their own drum and define, to a certain extent, the terms under which they want to exist. They can define how, what and when they want to show and sell. This is creating a razor-sharp focus in designers. It forces you to look at what the brand is about and what you’re doing, and to really hone in on what you do best. I also think the merging of high and low fashion is exciting, where you can feel liberated enough to utilise both in your brand. And I’m excited to see the points of view of more international designers. When I started, for me, it was all about London Fashion Week and how you fit with your contemporaries, but now you hear more about designers from across the world. Finally, everyone comments on it negatively, but I think seeing established fashion houses be occupied by many different designers is just as interesting as seeing a designer who is given the time to explore a specific brand.
Collaborations have always been an important part of your brand.
I have an inquisitive nature, and I love to learn about a new medium or product, for example, how do you do a Moncler jacket or an Adidas sneaker? The reach that those collaborations create is something you’d never be able to do with your own brand. We were quite prolific in that way, but it puts a strain on your company, so now we’re being more strategic; we seek opportunities that are part of our DNA, that feel natural and give us the opportunity to diversify our brand with a collaborator.