Eyewear licensing at another; all these actions are fila white sneakers part of a classic luxury goods format, even if we did it our own way at Balenciaga. These are the steps of large-scale brand construction. Today, it s essential I think differently.A character fault I have is working with my friends. I love it. It may sound incestuous, but collaborators have become friends and friends have become collaborators! Dominique Gonzalez-Foerster is really important and we will keep doing things with her. Marie-Amélie Sauvé, we work together but it so much more. We spent so much time together.

There s Charlotte Gainsbourg of course. There s Pierre Hardy. It s a family. They are people who are part of my professional framework. I love sharing things, building things together. For example, Cindy Sherman and I did a great project that started out as black fila shoes a friendship. I get along really well with Catherine Deneuve. We haven t collaborated yet, though she has worn Balenciaga. So one day we ll get to do an artistic collaboration, I am not sure what kind. I do have these icons, who are not necessarily in fila 2019 my immediate work sphere, but with whom I have important connections.

When a garment makes you look smarter, it s wonderful. The Balenciaga approach to femininity is a boyish attitude, confidence, intelligence, a demand for quality, and an avant-gardism in the sense that you are courageous enough to look different. I just don t get the bimbo thing. You can say anything if you do it with talent. Wong Kar-wai did it with 2046 (2004)?and In the Mood for Love (2000). Fassbinder s bimbos are more interesting than what you see on catwalks today. fila au Bob Fosse s Cabaret (1972) is not degrading at all, even if the subject was radical for the time. I just don t understand that you can put a scantily clad 16-year-old on the catwalk and call it normal.

It was very personal, which is why I asked Charlotte Gainsbourg to represent the first new scent, Balenciaga Paris. I really respected the old Balenciaga fragrances; after all, the house survived on them, Fleeting Moments, Quadrille, Ho Hang, and Le Dix. We canceled the old licenses and stopped production for five or six years. I spent 12 years materializing ideas and?all of a sudden I had to do the opposite and dematerialize an idea to create a fragrance. My collaborators were key. I suggested we work with Coty to develop the first perfume; Olivier Polge was the nose. I learned it had to crystallize the heritage of the house, but people expected it to be modern.

It couldn t be a gimmick or the hit of the season; it had to be a classic. I wanted something floral but a sort of fila basketball shoes floral decoy, nothing nice or precious. All the original perfumes were floral. Le Dix was based on the iris  it could have been the other Chanel No.5 of the period, although it came out later in 1937. We went with violet in this case, which can smell a bit decrepit. At the same time I told them I loved the smell of gasoline and gas stations; it s a smell that we all know. I am not saying its suitable for a fragrance, but I liked that it was urban and captured life as we know it.