A Quote by Reed Krakoff
The collection under my name is an exciting opportunity to really express my own aesthetic and connect with a very different consumer.
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The idea of recontextualizing images from different eras to express larger ideas about modern times was very exciting to me. That archival aesthetic is the foundation of my filmmaking style.
Whenever you create some sort of disturbance in the air, there's an awakening that happens, an opportunity for a conversation, an opportunity to build bridges, specifically, an opportunity to connect different groups that typically wouldn't connect with one another.
When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.
Everything I have is ready to wear, but I have the ability to have different options within the same brand. I have the Theyskens' Theory collection where it's a personal approach to how I build the collection where I fuse more fashion-y ideas and it has my name on it. So it's really something very research- and labor-intensive. And then I have the Theory brand where I infuse all points of view about fashion at large, and it's more global. It's really about making something succeed. You have an instant relationship with stores, and with sales teams, and people that are in the place.
The goal for me is always to have the opportunity to work in different genres. This is a great and exciting time in my career, where I can have the opportunity to work in different genres, and also I recognize there's not a lot of actors who have that opportunity and I'm grateful for it.
For me growing up when hip hop was forming and maturing and coming into its own, I just felt I was a part of something really exciting. I was a part of it as a consumer.
On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.
At one point in time, you had to choose, 'Do you want to do consumer or enterprise?' But the reality today is a bit different: Enterprises are a collection of consumers.
We meet so many people, and it's interesting when you meet someone who you really connect with. They have their own energy, their own personality, and that is something so different than just beauty. So that really drives the decision for who to work with on a campaign.
I have found that sharing this very intimate part of my life has been really powerful, because it has brought support from people I wasn't expecting. It's cathartic on many different levels. As I get older, I realize it's so much better to connect with people. It makes everything better to connect. Only connect. Why not have my art be about that? I think of it as moving from the third person to the first.
Each season I strive to design a forward-thinking and effortless collection with a very clean minimalist aesthetic.
The model of getting the consumer to come to you is old, and the new model is how can you get to the consumer on their terms, in ways they want to engage in. How people are choosing to interface with content is very different. You've got to marry different platforms.
The model of getting the consumer to come to you is old, and the new model is how can you get to the consumer on their terms, in ways they want to engage in. How people are choosing to interface with content is very different. You’ve got to marry different platforms.
Musical 'fusion' projects have earned themselves a bad name, but that's mainly because they often involve pop artists conscripting orchestras to play unimaginative backdrops to their acts. What's really exciting is when you spark off a dialogue between very different musical forces.
Disco deserved a better name, a beautiful name because it was a beautiful art form. It made the consumer beautiful. The consumer was the star.
Just women who are really eclectic, so every woman from Gwyneth Paltrow to Peggy Nolan, who has half a shaved head and has a totally wild aesthetic. They're woman who are doing things, running their own businesses, taking chances at different levels of success and different industries. A lot of my friends are creatives. It was just who I really adore and wanted to share with a greater audience.
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