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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. Instead of hiding in it. We can still do it. I think the link is opulence. But Paris changes a lot, no? Sometimes you meet people on your travels like that. I know a few. The painter Gericault, when he was in the hospital, made them bring him a mirror so he could paint himself in a battered state.

I mean, how can you not? How can it not be so? I usually make it up as I go along. This is what I think I do, but, in fact, I spend years thinking about what I may make in the future. I read a lot. When I edit, I throw things in, to create chaos, abstraction. Editing is the work. Trying to understand what you would like to say or suggest with these few seconds of pixelated matter. The difference between digital and film is the difference between going to JFK Airport and a small landing strip in Hawaii. So the discipline needed for me to go against my nature is very interesting artistically.

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