You know, fashion's interesting. People love you one minute. They don't like you the next minute, and I think that part of growing up, for positive and negative, I think it's made us both strong, so fashion can be testing.
I personally, I think, if you do get used to doing the same thing all the time, so when you do get to have creative moments, or have friendships, I mean, I started as a little girl, and he started as a little boy, and you know, you kind of grow up in this field, and then you get to meet new people in between,
so you make relationships, and you think that you just are going to come in here for a minute, a second, and then you're going to leave, but when you get to have those opportunities, that's when you're like, oh, I hope I get to stay around and do more stuff.
I think I became really sort of clear of confidence in what I wanted to make, and who I thought I could be in America, and the kind of clothing I wanted to make, and creating something that felt strong and iconic, and I think together over the last year now, since our last collection,
here in the quarter, creating these really strong images to sort of try to bring back fun, glamour, and joy into what we do.
When you do have a lookbook, you're like, uh, just the girl, you're just standing there, and it's like, face forward, face back, go, face forward, face back, so his lookbooks are more like campaigns.
Every image that goes out is pretty important.
Whereas before, when I started, it was, you do a lookbook, and you send it out to all the clients, so that's all you saw.
But the use of the lookbook changed. Art and commerce, it doesn't need to be boring, and advice customers, you need to create depth in a story.
Some castings, you sit in a room and you're shaking, you're nervous, you're with a hundred girls, and then all of a sudden you're sitting in this room, look at my book, you've seen my book?
I've been around a long time, but okay, here's my book, Walk For Us, and you've seen my walk, I think you know my walk.
You know, it's still this, models I just thought of as models.
The whole thing should be collaborative. I think the best moments in our industry, when people have been, they're actually a Frenchist group, and it's been collaborative from, you know, the Trinity to different moments,
and in history of Richard Avedon with his girls, it's real.
It starts with the years, and we don't take days.
I want to be a part of it.
I want to be a part of it.
I want to be a part of it.
I want to be a part of it.
