A Quote by Natalie Massenet

It's interesting to see how some of the womenswear designers that we have long worked with at Net-A-Porter are developing menswear collections - Christopher Kane, Jonathan Saunders and Richard Nicoll.
I've been really lucky because I've managed to become wonderful friends with a handful of very talented British designers. Christopher Kane has become one of my very good friends - also Erdem. Jonathan Saunders is another brilliant talent who's very kind. We all hang out.
I didn't invent hot water. But when I approach menswear, I do it in a very honest way. And my menswear and womenswear are very similar, in the sense that I put men in leggings and lace shirts.
There is so much talent in British fashion: a real cookie jar of different aesthetics with designers like Mary Katrantzou, Erdem, Christopher Kane, J. W. Anderson, and Simone Rocha.
I'm like a conductor. I come up with ideas, and I get all these people to make great music together. I have a team of really talented assistant designers. I have architects in my office. People I trained from the beginning in menswear, womenswear, and home. I have a great team who know what I want and feel and translate that into beautiful results.
For a lot of people, it's a massive deal to be on the front row at Fashion Week and look perfect. I don't go to be seen; I go to look at the collections and support my friends, like Henry, Giles and Jonathan Saunders. As much as I love clothes and shopping, it doesn't drive me.
I find it very difficult to see the boundary between womenswear and menswear. It's bizarre the ways in which society reacts; they find it difficult to comprehend seeing parts of the body on a man. I think it's fascinating.
I brought a lot of the codification of womenswear to menswear. Why? Because when I was a child, I was wearing women's clothes adjusted to me.
Designers want their clothes and their shows to be absolutely perfect, exactly as they imagined, and there is a great deal of work that goes into doing that. Some collections can tell a whole story, from the first look to the last. The way the colors and the clothes transition is very interesting.
Christopher Walken could literally read a phone book and fill a theater, and it would be interesting to watch. I've often wanted to produce a show and ask him if he'd do that. All week long, he could read the As on Tuesday, the Bs on Wednesday; we'd see how long it would last.
Net-a-Porter offers catwalk fashion and trend-driven shopping, but for Mr Porter, while fashion is still important, style is key.
I'd advise all aspiring game designers not to aim for money when developing a game, because unfortunately it is very rare for game designers to be able to earn a living by developing analog games.
100% of Net-a-porter customers have a man in their lives in some capacity, and 59% are married or living with a partner.
When you see how people in the developing world react and how they use a camera, you realise how narcissistic we are and how the filming of ourselves and thinking that we're interesting enough to care about is odd.
You don't need money to look fabulous. There are so many awesome new designers, so many designers doing collections for mass retailers.
When I do a show I have such high emotion; the energy is amazing - but, people don't really see the details and the work and the experimentation that we, the designers, put into the clothes. With prêt-à-porter you're having a look.
I think it's a different kind of activism. Like, women shouldn't have to step into men's roles to be empowered. They should be able to step into themselves. So that's what I try to bring, that we shouldn't be thinking of it as menswear or womenswear; it should be clothing for people.
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