Results tagged “ONE interviews” from one management blog

Christopher Michael: Sometimes it's quite boring and generic to start an interview off with the beginning of the story, but with a past like yours, it's hard not to.... How did everything begin for you exactly? ...Going back to before the Madonna sex book even, etc.

Andrew Richardson: I grew up in England and spent part of my childhood in the Middle East, then moved to New York as a menswear designer when I was 22. At the time, I was going out with a girl who borrowed an apartment from a couple of guys who were photo assistants; they seemed to be traveling around a fair bit and having a lot more fun than I was...So, I began to work as a stylist assistant and I worked for Brana Wolf. Through Brana I met Steven Meisel, and through Steven I worked with Anna Sui when she was an editor with him doing Italian Vogue. Then, I worked for Paul Cavaco and spent a lot of time working in Steven's studio, about 3 years with those different stylists, which gave me a really great base. I was very spoiled watching those great talents make those great images, and being provocative, it really fit for me. In fact, he took some photographs of me for Italian Vogue which ended up getting me papers to work here; I got like 10 tear sheets, which was what was needed then to be able to get a model visa. So that was a very pivotal time in my life. Being Paul Cavaco's assistant on Madonna's sex book definitely enabled me to go into sex shops and meet people who make custom rubber wear and all these sorts of things that I probably wouldn't have done otherwise, not at that point anyway. It opened up a whole new world to me that I was probably slightly intimidated by beforehand. There was a shift of emphasis. When I broke off as a stylist on my own and began to work with Mario Sorrenti and Terry Richardson, the work we did was partly a byproduct of that shift for me. Through that, the magazine (Richardson) came to be... I had worked for a magazine called Dune in Japan, and I had shown Fumihiro 'Charlie Brown' Hayashi, the editor of Dune, my scrap books, you know just random images and bits and bobs I had stuck in these art books over the years. He said he would be interested to see what kind of sex magazine or porn magazine I'd make, he got the seed money and that's how Richardson began.

CM: That leads me to something I was quite curious about... In terms of your beginning and how long it took you to be comfortable and able to bring your current aesthetic to the stories, and teams, and projects you were working on... How did you get to that place, that level, where the overt sexuality that has become your trademark was really unleashed?

AR: Magazines back then began to sort of gravitate towards sexual provocation, to make images compelling. Sex just seemed to come through and I was in the right place at the right time, I never really thought of doing anything else. I'm straight... well, as straight as a fashion stylist can be (laughs)... and that was what turned me on, that was what was exciting. When I was a kid I was very into Yves Saint Laurent and the images of Helmut Newton, the way they both presented this woman in a very provocative way but still being in control. I always tried to encourage irony and a sense of humor into the sexuality in the pictures I've worked on.

CM: You just made a point in saying that you were 'straight' but, didn't you say in Interview magazine that you were bi-sexual?

AR: It's kind of a funny thing... When I was a younger man, I had a couple of investigative adventures, so to speak, which is why it's funny that he misquoted me that way. I do find myself looking at cute boys walking down the street differently now... almost as if once you get outed in print it changes something within you (laughs). But yes, I was misquoted. I really gravitated towards the gay club scene in London and New York when I was younger because that was the best scene, I enjoyed that kind of mentality and attitude and never had problem with that.

CM: In the world of editors there tends to be a cross over into the Art Direction on the part of the stylist, would you say that happens with your work as well?

AR: A lot of stylists work in a way where they are sort of dressing themselves in a picture. I've always been more geared towards the photograph and what the idea is, who the character is. Who is she when she wears that? Who is he when he wears that? For me, that's the way I like to think about stories... it's more about the idea. I'm like a closet photographer in a way. I do a lot of referencing and really collaborate with the photographer on what we see in the world around us. Recently, I did a story with Terry on "The Jersey Shore" for Interview magazine; I was really into the show, so I said to Terry, "Wouldn't it be great to shoot these guys?" I was interested because the sexuality in that show is associated predominately with the men, and the women are kind of secondary. That's really what I think styling is about for me... being able to process my environment and what I'm interested in, who I know and what's coming in... I come from that school where at 13 or 14 I was reading The Face and it really affected me. I lived 30 miles from London and it was everything I wanted to be a part of and couldn't, I was too young and couldn't afford the bus fare... it was what turned me on. That magazine was really great because it featured fashion, culture, and music; a post-punk, culture magazine... that's the point of view and the school that I come from. Trying to make a fashion story that is more like an album, an image, like a single. You know, you really want to do a story that someone is going to tear out of a magazine and put up on their wall.

CM: With photographers who've assisted other photographers, they always seem to walk away with an idea of how they were shaped or affected by their mentors so to speak... As a stylist, do you feel that you were also influenced by the people you had worked with in the beginning, such as Brana Wolf and Paul Cavaco?

AR: I think Paul Cavaco was definitely an influence for me, and Brana too. With Paul, it was his way of being. He was a great person to work for. He had a great sense of ease about working, it wasn't a neurotic process (the way he worked), it was also very much about the image. He could do a whole story with a white shirt, and it was about the way he worked things out on set. Anyone can get a Balenciaga look off the runway and put it on a girl and it looks great. Paul taught me how to work using simple things. Also, I was very influenced by Melanie Ward and Anna Coburn and what was happening in the 'grunge' movement in London, the way they used transgressive elements in quite a plain way. I think Paul had a real confidence in his ability to make anything stylish... He depended less upon what you put on the girl and more about what you did with what you had. If you get stuck on a shoot and you can't figure it out, and the idea you had and what you were building towards isn't really working... if you divert from that, and if you don't try to work it out within the idea, you can really end up in a lot of trouble. So I always try, for better or worse, to work out what we were originally trying to do. You are going to have to make mistakes to learn and make it better next time. You have to sort of go through that whole thing. I think that's how you develop, and Paul was really good at knowing how he would be able to resolve the look in the picture.

CM: With photographers who've assisted other photographers, they always seem to walk away with an idea of how they were shaped or affected by their mentors so to speak... As a stylist, do you feel that you were also influenced by the people you had worked with in the beginning, such as Brana Wolf and Paul Cavaco?

AR: I think Paul Cavaco was definitely an influence for me, and Brana too. With Paul, it was his way of being. He was a great person to work for. He had a great sense of ease about working, it wasn't a neurotic process (the way he worked), it was also very much about the image. He could do a whole story with a white shirt, and it was about the way he worked things out on set. Anyone can get a Balenciaga look off the runway and put it on a girl and it looks great. Paul taught me how to work using simple things. Also, I was very influenced by Melanie Ward and Anna Coburn and what was happening in the 'grunge' movement in London, the way they used transgressive elements in quite a plain way. I think Paul had a real confidence in his ability to make anything stylish... He depended less upon what you put on the girl and more about what you did with what you had. If you get stuck on a shoot and you can't figure it out, and the idea you had and what you were building towards isn't really working... if you divert from that, and if you don't try to work it out within the idea, you can really end up in a lot of trouble. So I always try, for better or worse, to work out what we were originally trying to do. You are going to have to make mistakes to learn and make it better next time. You have to sort of go through that whole thing. I think that's how you develop, and Paul was really good at knowing how he would be able to resolve the look in the picture.

CM: At what point in the whole journey of your career did the magazine come to be?

AR: It came to me really; I didn't decide to call it Richardson either. It was late 1997 that it began to be talked about and we got the money and began to shoot it in early1998, Laura Genninger and David Ortega from Studio 191 agreed to art direct and we had Issue A1 ready to print in March of 1998.
It took the Japanese publishers a long time to go into print because I think they got something different than what they thought they were going to be getting. Jefferson Hack was in Japan and they showed him the dummy and asked him what he thought and he said, "I think it's great," and with that the publisher decided to go ahead and print it and we got it in late 1998, early 1999. I sent a copy to a friend of mine, Lee Swillingham, who was art directing The Face and he put a small quarter page piece about Richardson in the magazine. It had a couple of images and maybe 100 words about the issue. From that, we got a lot of interest in the magazine...This was also pre-internet, pre-email even... It ended up getting on Rolling Stone's August hot list in 1999. So there was hype on the magazine itself and the fact that it was not widely available, we had only 500 copies that we were sent from Japan, turned it into one of those things that everyone wanted and nobody could find. I think the reason why it did as well as it did was because it didn't disappoint and was in the right place at the right time. That gave me the confidence to go on and do another one. At that point, I separated from the Japanese publishers, due to issues with censorship and creative differences, and did A2 and the next one, A3, and then ran out of steam. It's very hard doing everything, hustling the content, distribution, getting paid, keeping the whole thing going. I had always used my styling work to sort of keep the magazine afloat and 9/11 slowed things down in New York for a couple of years... I was at a crossroads and decided to put all my energy into fashion and started taking it all more seriously. Steven Gan was very supportive and I ended up working at Harper's Bazaar, with David Sims and Mario Sorrenti. I got involved in brands like Belstaff and Aquascutum, doing consulting, and became a quite serious fashion editor at that point working on shows and campaigns, etc. So when the recession hit in 2008, work slowed down and I had more time. I had been thinking about the magazine all along, collecting things in folders and thinking, "oh well, that'd be good for Richardson." Luckily people were still interested in it and I got help and support from Pascal Dangin and Dov Charney from American Apparel and thankfully this current issue A4 is doing really well.

CM: What is the relation between richardsonmag.com and the print version?

AR: You'll see in the print version you have the QR codes and if you have a QR reader on your phone you can scan it and that will open up the online version where you can watch say a film that is referred to in the print version or a translation of an article while you have the magazine in front of you. So you have this Analog Digital interface. What we have on the website is not really a reflection of the magazine, it's an ancillary device to the magazine and then what we've started doing now is blogging...So we have a 'feed' section on the site where we put up something every day or every couple of days, something that interests us... That's what's exciting in a way; the magazine is a beautiful object, a resolved rigorous publication, whereas the website is a much more spontaneous easy way of communicating. We have 4 or 5 different contributors and they each bring their own sort of thing to the mix. There is a gay point of view, a lesbian, a straight girl, straight guy- different types of people who are sharing things that they are interested in. It's very important that this magazine is not a 'straight' magazine, it's all sex and we try to represent that in the blog as well.

Christopher Michael: You had mentioned before how Madonna was the most collaborative person in terms of the artistic process out of everyone you've ever shot, what made you decide to put her on the cover of your new book in particular?

Tom Munro: Well I guess, she is perhaps Madonna and one of the most iconic figures, but the actual idea came to me to use the book as a means of highlighting an African charity that I've been working with called Meak. After the collaboration with Madonna, she invited me to go to Malawi with her for a week, which I did in April of last year. I saw all of the things she was doing there, so I asked her if I could include Raising Malawi (www.raisingmalawi.org) as one of the beneficiaries of whatever proceeds we manage to make from selling the prints. So in the end, it sort of just seemed a natural step to put her on the cover with Raising Malawi being included in the book.

CM: In your works, you tend to be a walker between worlds in a sense, with your hands both in celebrity as well as fashion. Which realm of your work would you say defines you more?

TM: I think the celebrity portraits sort of materialized and came about through celebrity endorsements, from fragrances and that sort of thing. I also had a contract with Details for 3-4 years and I shot a lot of male celebrities. I ended up building relationships with, you know, Justin [Timberlake] and Patrick [Dempsey]. So when they were endorsing products we got together on those, like with Justin and the Givenchy fragrance, Play. I've also done various things with Leo [Di Caprio] for his film promotions and such. We've just done something with Warner Brothers for Inception, his new movie. With Patrick Dempsey, we've done Avon fragrances and such, so it was really through editorials and stuff that I've managed to work into these celebrity endorsements. I don't know, I suppose one becomes known for taking celebrity portraits but it's something that was sort of a progression for me from being a fashion photographer and was never something I really pursued, it just evolved I guess.

CM: Obviously, the subject of celebrities moving in on the territory previously dominated by the models is a conversation that's been going on for years at this point. Do you feel it's something that's finally stabilized or do you think that celebrities continue to gain more ground as time goes by?

TM: Well, certainly in terms of advertising it still seems to be pretty strong. However, it seems to be more cosmetics and fragrances, and less about fashion, in terms of what celebrities take on. I think there are kind of defined areas that celebrities really tend to occupy and that there is room for everyone in the end.

CM: I like the idea of looking at it that way...I read that photography was something that you started to play with in your mid 20's after you had been travelling and that one of the places you had been travelling to at the time was Bali. It's one of my favorite places and has such an incredibly spiritual nature to it, I wanted to find out if you had any sort of revelation during your time there at all? Or if photography was born of some other process going on in your life at that time...

TM: I was traveling with a bunch of friends and we were sort of getting up to no good and having a good time. Basically, taking pictures was just a hobby; a friend said that I should do it seriously. For me, the idea of making a living as a fashion photographer, particularly having grown up on the country side of England, to move to New York and become a fashion photographer was sort of a very alien concept. When I had returned to London I had been travelling for a period of 9 months already I think, and a friend of mine was taking a photography course and suggested I take it with him so I did. It wasn't born of some undying passion or anything, it was more of a 'why not give it a go' sort of thing. That class ended up being a provincial course that led me to transfer to the London Institute, which took me to Parsons and New York. One thing lead to another and I started working with Steven Meisel. It was during my time working with him that I thought this was sort of my time to actually do this and be serious about it. It was a great experience working for him, when I left, I was 32 and I really just thought, I have to make this work because I'm too old to change tracks now, so I just stuck at it basically... not to say that I didn't enjoy it.

CM: What would you say are amongst the most prominent traits you learned from your time working for Steven?

TM: Prior to working for him I worked for a more commercial photographer in London and we'd go to Miami and put a long lens on the camera and that was pretty much it. The first shoot I did with Steven where I was sort of being 'tried out' was an Italian Vogue shoot with Christy Turlington and a few other girls. Christy was standing in a galvanized bathtub with Wellington boots on in the middle of the garden with a headscarf on in black and white, and it was so removed from wide angle lenses and things and anything else I had experienced before. Over the years, apart from learning technique and lighting, I just basically learned to open my eyes and sort of explore things creatively, further than I certainly had ever thought of doing before. Steven is an incredibly versatile photographer, probably the most versatile photographer, so when I left I certainly didn't have his talent and still don't but I understood how to light in many different ways... Where I came from, everything was very formulaic and I sort of knew where to put the camera in order to make someone's legs long and that sort of thing. So I was kind of winging it to begin with, I didn't have my own style or voice yet. I mean if you know how to light and you know and understand composition, that's half the battle I think. You obviously also have to have an affinity for beauty; it's all those things combined. I sort of left Steven with having learned all those elements in my head, and it was truly a great experience. He would take pictures in no light, whereas in my previous position in London we would have stopped shooting by then. With Steven, he pushed film as far as it would go in those days before everyone started using digital... You know, he would purposely shake the camera or knock it or something in order to create more emotion from the slightly blurred effect. All the things that one wouldn't do because everything had to be sharp and precise, it was just a discipline and a different approach to photography.

CM: You've just referenced the arrival of digital and the exodus of film which reminds me of something that Olivier Theyskens mentioned as well... How in times past, the legendary photographers would both create and maintain their work and reputation on 10 epic shoots a year. Whereas now, with the arrival of digital there is such an impatient pressure to mass produce everything and photographers are not given the time to really find a moment of grace caught on camera. Do you feel that to be true even since you've started?

TM: It's interesting because I've been having this conversation with my agent recently. The industry has changed so much from the days of Avedon and Newton and Penn. They would do one editorial a month perhaps, like you said- it was a limited amount of editorial, or a book that would really define them. They had to keep evolving then within each work, which is one of the most difficult challenges of being a fashion photographer... You have to keep re-inventing yourself but sort of within the borders of your own world. It makes it difficult to draw that fine line between cranking it out every day and trying to approach it with more of an intellectual fashion with a sort of greater honesty towards yourself. It's hard to do that when you are shooting back to back. I mean, in the last couple of years I've done roughly 60 shoots a year and running from one airport or plane to the next and getting off a plane and going to a job, it's hard. I'm not sure it's the right way to be doing it, but it's not all bad because it means there is a demand and something one should be grateful for. I think it's just how the business has evolved and it's still very much about images, but perhaps less so than it was 20 years ago. The immediacy of digital has a huge part in that evolution. I mean, it used to take a week to pull something together and now you do it as you go along throughout the day. I mean, when we used to shoot film we'd be doing Polaroids and then spending 30 minutes trying to get back to what you achieved in the polaroid. That's one of the best things about digital photography, that you don't have to go back and get it because you already have it.

CM: What do you find to be the most relevant subject or change that's occurring in the business today?

TM: Certainly there is a sort of movement towards embracing femininity and we clearly went through a period that was all about androgyny and boyish models so I'd say that's obviously changed. Maybe it's also because I'm getting older (laughs). But in fashion photography, you are embracing their intellect, their beauty, and their sexuality and in my pictures I like to portray women with certain strength. I think for me, shooting young girls who are androgynous is sort of quite hard to bring that (strength) across. I've never really been a huge fan of the really young models in terms of shooting them. We are all conditioned to view the world and fashion in a certain way, and it gets very political when the girls look anorexic and 99.9 % of the population doesn't look like that. At the end of the day we are selling clothes and, like seeing a film, fashion creates something for people to aspire to or want to be a part of and it has to ensue those emotions. In turn, part of one's job as a fashion photographer is to create something that people aspire to, and because of social demand we like to see something slightly more idyllic than a model absent of gender or legal age.

CM: What do you hope is the next great big shift and leap in fashion photography?

TM: I like shooting beautiful women so what's going on now works wonderfully for me. I think looking back on fashion photography from the 60's, 70's and 80's the women were beautiful women. I think that there is a handful of girls now that fall into that category... I think that hopefully we can stay in a world that is believable. I mean there are always going to be people that are more beautiful than others but it's about celebrating femininity and intellect and beauty. That's actually a really hard question because on the other hand, the sort of shock factor of the 80's and punk was equally interesting but in a completely different way. I think that we are going through a good moment for me and in terms of where the industry is but it would be boring if it stayed the same. Things have to keep evolving which is why models and photographers all change. You have to stay on top of the game and I don't know what the next stage is going to be...

Christopher Michael: I've read in some of your previous interviews that you've been sketching since quite a young age... Have you kept all of those drawings from the very beginning? Do you think you would ever be open to putting those images into a book?

Olivier Theyskens: I have a huge amount of drawings from when I was young. I have two trunks full of drawings, from..well, ever!  Anything and everything. There are a little fashion drawings and other kinds of drawings as well.. I never had a professor for drawing, the only time I went to school, my mother brought me, and the professor brought a mannequin of a beautiful woman's face and told me, "draw that." So I drew it and I only had done the contouring, you know the eyes and everything, and then she came and took a pen and made a big line in the middle of the face and said, "You have to make this disappear with shadowing and everything." I remember I was too sensitive and shocked by the act of making that mark in the face, I cried and we never went back. Actually it's funny because my Grandpa, when he passed away, my parents discovered that he had put a lot of my drawings in a bank.  I always had a big amount of drawings in my room and little by little they ended up in the trash.  As a child I didn't really think it was a big deal, but I now have a lot of those drawings that my grandfather kept and another huge amount that I kept on my own.  It's a huge mess; there are no dates on them or anything... I should really take the time to organize them. I think what's interesting with those old ones is that you see the change throughout and the evolution.   The funny thing is when you look at old stuff you remember the moment it was created. I don't always remember the year but I remember doing it, or showing it; there are always memories connected to each piece. I think that a book of drawings is a great idea, but I'm not sure that I would be so interested in doing a book of my old drawings, necessarily. 

Christopher Michael: I really appreciate the fact that you seem to operate in your own realm in terms of being aware but not really paying so much attention to what other people are doing when you are creating your own designs..

Olivier Theyskens: I tend to reject things that remind me of the work of others, if I do a drawing and I have the thought that it resembles something already done I never keep it.  I don't like it at all when it's clearly inspired by someone else or is clearly the idea of another person.  So I have to be aware of what is already done as well.  Sometimes I have a strong feeling about what someone is doing, like "oh that person is right, this is really what girls are looking for," and at those times, it's very hard to not re-project that vision into your own work. To say to yourself, "ok, I can still bring something else,"...that part is not easy sometimes. It depends on where you put the creativity. If it is a really inspired collection you should be able to do it without copying anybody else's idea or inspirations.

Christopher Michael: You said that you don't have a muse and it made me wonder if perhaps you are your own muse?

Olivier Theyskens: This is a question that everyone asks and I understand that everyone is wondering. Someone who creates women's fashion and these ideas should probably have a muse or an example, a perfect version of it all.  It's true, but I like a lot of strong female characters. I like to look at pictures of models, and great actresses; I like all people actually, family people, a lot of women, a lot of girls and all that, but I don't have just one muse in particular.  I have been discussing a little bit, the subject of myself as my own muse.  I could say for example, I can imagine what it is like to be that person, to be that woman, and how I would like to be dressed.  It's not really a muse, but I don't need to see the girl right in front of me to imagine what she will look like... I feel it. But I would not say I am my own muse (laughs). I have an imagination the way a film maker has an idea of how he wants the actress to be.  I think in the movies there are a lot of people who are looking for something they imagined, they had a scenario or an idea but they don't have a particular muse that the actress is supposed to imitate or try to look like.  I feel as though I'm more like that. I like the models and how they look, and they are great to show a collection, but at the same time you want to also give them something different.

Christopher Michael: How has the past year been in terms of your process with the book? What has the journey been like through 2009?...

Olivier Theyskens: The book has been a very great thing for me and a great story because I know, and I think Julien knows, that it's a unique project.  We were never thinking when we met (I was 17) that we'd do this.  After a few years he did pictures sometimes but we had never thought that I'd be doing what I'm doing now and that he would come to shows making a lot of materials that would ultimately end up becoming a book. He kept everything; he has all of the negatives, etc. The work that the book was edited down from spanned over 15 years so obviously we didn't end up using everything. He was a really close friend of mine that would come to the shows all the time, not necessarily for pictures, and a few times he was starting a process with his new camera and asked me if he could take pictures and I was like, "sure, but don't bother the professionals please,"' and I would not even see the images he was doing.  It was an interesting subject for him to go further and see more. Then little by little he started coming to all of the shows with his camera. When we look back on it now, it's quite amazing. Backstage is such a strange place, there is so much happening.  He's always looked at it in his own way, trying to find what was interesting for him, and I think that is what makes the book special, that  it's not a vision of images we usually see from fashion. He came to me with the idea and I said, " ok, show me an example of what you would like to do," and he came to me with a little book, only 10 examples... it was a little book with no chronology, the pictures all together, all black and white and only a few color shots at the end. I thought it was so beautiful I decided to show it to an editor and see what they thought, so I went to Assouline and they ended up loving the idea. Like me, they thought there was something with the color pictures, that we should see where we could go with the images in color. So I told him that I'd like him to continue shooting in color and let it evolve and see what we can do. Eventually the moment to do it arrived. I told him at the last show, "Make good pictures because I think we are there, so try and make it the best so we could end with a good session!" I had never really interfered in Julien's work. We had been doing things together and I always had a lot of respect for him, I'm usually the person who makes a lot of the decisions, but I'm very open to respecting someone else's own creativity and I could give my opinion but in the end it was very much him who made the final choices.  

Christopher Michael: And you guys have known each other since school right?

Olivier Theyskens: Yes, he was in photography and I was in fashion design but I did not stay long. I went away quickly and we just kept in touch.  We remained good friends. Actually, every time I wanted to make some sort of photo material, I always asked him to help or to give me his advice.  He is a person that is very rare. We don't have enough people today that are really individual, going their own way. The people who allow themselves to forget sometimes what fashion is doing and they do what is really pure and modern and purely beautiful.  He does a lot of his own work. When you see a portrait of his, you end up really questioning yourself, is it beauty?, is it ugly?, it's very attractive...yet very strange.  He likes models and takes portraits of people that he is fascinated by. He can make a picture of a strange guy or of a girl who is beautiful but has a very interesting face that you don't always understand. In many ways, there is a bit of tragedy also in his work.  He is strangely seeking something that is questionable I find...He is so sensitive that it can take months before he finds somebody he wants to do a portrait of.  What he did for the backstage worked fine because it's every 6 months, but for his own work he's very step by step, and into taking his time. He needs to almost fall in love or something, it's very bizarre. He's a perfectionist. In photography, it's not fashion. People are not wearing pictures, so photography can be more elitist sometimes, also.  There is not only one way of doing it. I think that's the problem for many fashion photographers these days, you have legendary photographers that are famous for 10 pictures, and the famous photographers now days have to do a shooting every 2 days.  It's very hard. You need clever assistants who can find you new lights, which doesn't make it so easy to be a perfectionist now. I think the mass production in the industry made photoshop such a useful tool.  So many shootings today, you can see the result on the screen right away and even if it's not so perfect, you can just correct it afterward.  You don't shoot anymore a "moment de grace" or find this magical moment where everything was perfect and you captured it.  There is so much to be done that it's become useful though, and also to make diversity, to change the color and all of that.  If we were still relying only on the camera, we would not be able to do so many pictures that look different from one another.

Christopher Michael: What was it like doing the French Vogue with Mario Sorrenti?

Olivier Theyskens: Ahh yes yes yes, this is a person I really love.  It was easy, what was good is that it was a place where we had a very natural light.  There was this window in the ceiling, and we were there around midday so it was a really nice, strong source of light. Mario is heterosexual, but when he shoots his model he's also a very sensual person, everyone feels that.  You see it in the pictures, the models, you know they were charmed a little bit and when you see his work you understand. Even when I see Natasha Poly photographed by Sorrenti these days, there is such sex appeal.  Even though I'm a boy, I could feel his charm, feel what being in front of his camera is like. You don't have that all the time, but there is a chemistry between a model and a photographer. It can be a distance, or an appeal, or just a clever feeling but there is always a link...

Christopher Michael: If you look at the people who come out of Belgium, from you to Dries, photographers like Willy Vanderperre, stylists like Olivier Rizzo... What is it about this small country that seems to produce so much talent?

Olivier Theyskens: For me, the connection with France is important for some of my fashion roots... we are very close (Belgium and France). I remember always going between France or England when I was a child. I always thought Belgium was a place "near the other places."  It's very much a mix of cultures.  On the TV you would see things that are produced by other countries, or music from other countries; it was rare to get your own culture that was made by your own country, which is probably why a lot of Belgians tend to travel a lot. They are very open and yet, still they have their own roots. You can make serious work together with Belgians also.  I find that we tend to be very hard workers. In the end, actually, it seems that I have a lot of Belgians around me. Even if I'm not attached to the fact that they are Belgian, every time I think wow, they really work well. It's strange, in Belgium if you ask someone to repair something you know they will do it well. If they are charged with a project, it will get done. In France it can sometimes be a different story.

Christopher Michael: What was it like to have such success so young?

Olivier Theyskens: Well even when I was in school, it was known that I wanted to be a designer who is known. I wanted the top things. I remember that there were no students that wanted that; even if they did, they would not dare to say it. However, I was thinking at the time it would take 15 years, because it was not common at that time to do a show.  It was becoming slightly boring around that period... there was not enough new things and I had a feeling there was space for new things. When I started I had to do a lot by myself, I think it's not the key to success but it's important to know all of these aspects. Even I think it's great to know the time it takes to do something, because I'm not slow, I'm quite quick, but I know what I'm asking a person to do when I ask them to do something for me, even to make a pattern or to sew. You have to take the time to imagine a collection, to draw it and to follow it and make it real. You appear to be living with that craziness, only when the collection is done and it's shown, you retire back to the peaceful side.

Christopher Michael: As someone who's really grown up and been nurtured by London, what is your sort of perception of New York in comparison, as a different market? 
 

Anthony Maule: Well, you come to New York to make money don't you?!! It's a business here and you have to have a product to sell; that's the message you get when you come here. London still aspires much more to the ideal of being avant-garde, so the spirit there is still much more about creation over commercialism.  

I would recommend everyone go to London when they first start out just to experience it. I mean, I can only really talk about it from my own perspective but when I first went to London it was the mid-late 90's, there was this big energy there back then. It was cool to be the poor struggling artist and I think there's always been this general opinion that everyone has about London being this hub of creative energy. 

It's partly to do with the history of punk culture being born in the UK, even though aesthetically it doesn't really exist on the street as much anymore. The spirit of punk still exists in many different ways and maybe always did even before it became a brand... It's just inherent to British culture to be like, "What the hell, I'm going to do what I want."  People from all over still want to buy into that so they come, they feed off of it for a while and they learn how to be individual. London's really good at that.  

Christopher Michael: How did you meet the editors you work with? 
 

Anthony Maule: The connection to Andrew [Richardson], Karl [Templer] and Olivier [Rizzo] was all through Guido, Marie [Chaix] was more of a sort of organic process.  Sometimes it seems that you just meet up with people and it kind of clicks or it doesn't. I'd seen Marie's work and she'd seen mine, we both liked each others' work and it sort of went from there.  We met up and 2 weeks later we shot a story for Acne Paper, it just sort of clicked.  That was quite special.  

I have a great relationship with Andrew as well... his office is around the corner. I'm interested in what he's doing with Richardson Magazine; I think it's the perfect voice for him and we are always kind of throwing crazy ideas around.  He's rather subversive...he always likes to kind of subvert the flow (laughs). That's why I really enjoy working with him, because he's someone who will really question something over and over and I find it more interesting to work with those kinds of people.  I like the way he thinks and the way he references things. It's nice for me to work with someone who thinks like a photographer.  

Christopher Michael: It seems that you have your teams that you enjoy working with and have a great creative rapport with them...but there is always that one person that you really sort of look forward to working with one day...Who is that person for you? 
 

Anthony Maule: That I've not worked with? Big Mac....I've not met him (laughs). I've read in some of your previous interviews about this sort of cross-generational period where the new generations are having the chance to work with their icons and I kind of feel like I've been very fortunate so early in my career to work with a lot of my icons already. To be able to collaborate with people like Fabien and Olivier [Rizzo] already I just sort of went...off the wall, in a way. I didn't preconceive any of that, I was just surrounded by people like Julian [Watson] and Guido who were incredibly supportive, believed in me, and were interested in launching my career...Melanie Ward is another incredible stylist that I'd really like to work with. People like that, like Melanie and Joe, they are kind of structured, simplistic, and graphic. I'm just naturally drawn to those kinds of people.  I'm a bit like that kid out of that Rodriguez film "Planet Terror"...you know, the one with the toy dinosaur that says, "I want to eat your brains and gain your knowledge." I'm just fascinated by people with experience and history in this business. I just see what we do as such a privilege that I want to use it to educate myself, it makes it feel more real for me that way. I have to say though that I'm just as interested in working with people from my own generation and younger, it is totally different but you can learn from everyone I think and especially now the younger generations seem totally in control of the future so I'm looking at working with a broader range of people now.......I'd love to work with Panos too, his work just kills me. 
 

Christopher Michael:  Dream publication? 
 

Anthony Maule:  French Vogue.  
 
 

Christopher Michael: Do you look at the arrival of digital as the reason behind an over saturation in fashion photography? Or do you look at it as the reason behind an increased sense of opportunity for people to work within the business... 
 

Anthony Maule: Well it's postmodernism, isn't it? That's it. Perhaps it's a weird term to use but that's how I see it. That's the world we live in now, everything is over saturated so that everything, in itself, is very modern and relevant. But it's both really....of course there's more opportunity now and than there ever was and digital has definitely made it more accessible to everyone, but I think we all start to see that technology is bringing something very different, very new, to the table and it is very exciting. It will force change and that's a good thing. The people that adapt to it and embrace it are ultimately the people that will survive. 
 
 

Christopher Michael: You were saying print pages are being threatened as we head toward online media, yet somehow during economic threats and the arrival of the online publishing world there seems to be numerous sort of niche print publications opening up... 
 

Anthony Maule: I think that will always happen. We always need independent voices no matter what format they come in, but you know, the idea of the print magazine as a luxury item is nothing new. Portfolio was luxury, Egoiste was luxury; the idea has been around for years but I think for a while now that's the only thing that print media has been left to aspire to become...As digital takes over, print publications will simply become more and more desirable and collectable. So that's the point, if you can back it, it's still an interesting time for the independent voice in print media now and maybe that's why you've seen the interest, because they could see that happening and they're passionate about what they do. Look at Self-Service, it's the perfect example... it's like buying a book, it's the same price as a book!! (laughs). It's totally decadent and embracing the times in its own way. I love it! There's something very nostalgic about print media now and we still need those people who are obsessed with it to keep it alive. 
 

Christopher Michael: What would you say is the best way to start? 
 

Anthony Maule: At the end of the day I don't think there is one route. I think there is the route for you, what feels right and is organic for you is your way to go. For me, the path was just very natural. I knew I wanted to be a photographer when I was 14. I was in school and I wasn't thinking too much about my future really but then I had these tutors who, when I graduated art school, were like listen, if you want to be a fashion photographer just go to London...so I went to London. Then, for a long time I was happy just to feed off the industry and see what was out there before I even thought about what it was that I wanted to contribute. I really needed that period of experience first before I was "ready" and I was educating myself with the industry too. There was so much that was new to me when I first moved to London. It can feel very intimidating at the beginning so the best advice you'll get from me would be to gain as much experience at the beginning as possible, stay focused on your work, and be patient. 
 

Christopher Michael: So what about now, what's next? What can we look forward to this season?  
 

Anthony Maule: Ah, hah! Well, this season will be very exciting... lots of changes, new editors...I don't want to say too much. It's just all evolving and the industry is so transient, what I say today is going to be different tomorrow anyway, so that's it. I'm really excited about what's going to happen over the next 12 months... 

Christopher Michael: You were born in Norway, your Father is Pakistani and you went to school in London...Where or when did Berlin come into the picture?

Benjamin: I moved to Berlin on a whim; I've always liked the city. Originally it was only going to be for three months but it ended up being hard to leave. Initially, I wanted to take a break from doing fashion full on; I studied fine art, and I kind of wanted to continue doing that. In London I always felt like I was really surrounded by fashion...Obviously I love doing it but I just needed to get away from being in the middle of it. Berlin is the perfect place... There, I have much more time to work on my art and such.

Christopher Michael: Everyone tends to obsess over art & fashion as a sort of team phrase..and you seem to really epitomize the mixture of those two things quite well...

Benjamin: Well I studied fine art, there was no study of photography. The reason why I got involved in fashion was because of Katy England and Alister Mackie. They saw one of my shows when I was in college and they asked me to do projects for Dazed and Confused. In the beginning, I was doing a lot of photography and drawing together..and from there I ended up doing a lot with Nicola. We were all friends from before but we started working together also. I never really studied photography- everything I know technically are things I just sort of accumulated over time. It's funny to think back over the years and how "oh now I'm a photographer," etc...

Christopher Michael: I remember the spirituality issue of Acne Paper and that incredible story of yours that I emailed about... and your response was "thank you, it was very close to my heart," and I was curious as to what exactly you meant by that...

Benjamin: It just felt like a very natural thing. Fashion is so much collaboration between people and sometimes the brief or the idea or the styling is not exactly how you personally want it to be, and sometimes that can be interesting. This particular story felt very reminiscent of how I started photography... taking pictures of my friends, quite romantic, and in the forest... with my family and friends... It felt like a very natural approach...

Christopher Michael: Do you find it very hard to work within the constraints of having to include the right fashion credits and such when doing a story?

Benjamin: Well I think you just get used to it, but it has definitely become a lot worse. When I first started, it wasn't the 90's but it still felt a lot more free... It wasn't so important what the credits were... Now, you just have to accept that this is the way it is, I guess. Even so, that can be a nice challenge. I also felt that, because of the way everything got so commercialized, I had to work on my "other side" and work in a realm with less constraint.

Christopher Michael: And what about this ever present "fog and mist" of yours,..Is that something that you've always loved in general or...?

Benjamin: I guess my pictures have always been very soft. I was joking the other day because I found out I have to start wearing glasses so I said, "I wonder if my pictures will start to be sharp from now on?" (laughs). My starting point was always sort of a documentary approach and then it became more elaborate and I started staging fashion shoots...but there is always that element of natural in there. I like natural lighting, etc...and even if that's not possible, I like to at least have it look natural. I know people often say that my pictures are dreamy but for me it is more. I'm not so into fantasy...I actually like that people in my pictures are quite real and believable somehow; It may not always be so obvious but I like that they are real people. I am quite a spiritual person in some ways, not any kind of religious way but... friends always joke that I'm a new-age lesbian...I grew up in Norway on the country side so you just spend all the time in a forest, and that's a very important part of me. In my teens I was always very political, very eco-warrior...chaining myself to railroad tracks, living in squats and being a very left and very politically involved person. I think that all still plays a part in how I try to approach fashion. There are lthings I've been asked to do that I couldn't because I felt they were very wrong politically. For instance- shooting fur... which is a problem with Nicola because he loves fur (laughs)! I love fashion but I'm not too fond of capitalism, and obviously as a photographer, a lot of what you do is selling stuff and I'm just not so interested in the "stuff" somehow. I love fashion imagery but not necessarily everything else that comes with it...

Christopher Michael: People love to overanalyze and I think they clearly read too far into things, so I could be off, but I look at the way you shoot women and men and it seems you shoot them with the same perspective... showing the opposite gender qualities in both. Is that something you find true?

Benjamin: A lot of my work has a lot of play on androgyny; I did this story years ago with Nicola where we had this girl cast as a boy and everyone thought it was this homoerotic story between these two boys but actually it was a boy and a girl. Some of my best friends are trannies and drag queens and I photograph them a lot but with more of a sort of documentary approach. For me, fashion images are interesting when there is a play on gender in it, not drag necessarily but sexual ambiguity...I don't think about it so much because it's become such a part of the fashion aesthetic, the androgyny, but it's definitely something that's present in my work.

Christopher Michael: You have such a fantastic mix of talents and it seems as though artists will always reserve some of their works for their own 'private lives' or what not, but right now amongst your many mediums, photography is what is most in the public eye...Is there any other medium in which we will be seeing more of your work from in the time to come?

Benjamin: I did a video last summer that we shot in Ibiza with video artist Lars Laumann who lives here in New York actually. It was a triple projection video based around the death of Nico in Ibiza; so I definitely want to work more in film. That collaboration was really fun. I'm also working on a book; I've done some small sort of self-published things but I'm trying to do a real proper sort of book. I'm still young but I've kind of done quite a lot over a big period of time and I feel if I do a book people will get a better perspective of what I do. I take seasons off from fashion and work more on exhibitions and some people only know my exhibition work...The ones that don't necessary follow fashion, they know that I do it, but don't really see it. And most people from fashion don't know that I do these exhibitions. I really would like to do something that brings the two sides together. So I'm working on doing that properly...within the next year, I'm thinking.

Christopher Michael: You're very lucky to have success and not be enslaved by it. Many people get so caught up in what they love and the ambition, etc... For you to enjoy the success and still have time to enjoy your gardening in Berlin is a luxury that not many people can boast! You told me after the i-D shoot with Tanga that she was perfect for the story and it made me wonder what your trick is to casting... How do you come about making model decisions for a project?

Benjamin: Well I love the collaborative process, with the stylist and such. Everyone has their type of models that they like more than others. With Tanga, I thought she was perfect. I like people that are sort of characters, and that are women, and that's what she is like...It also depends on the publication. A lot of the models I like, they may not be into... and what they really like is not always going to be what I'm into. I feel that I lean more towards the older girls. I think people are a little bored of the non-entity models and have become more interested in characters...When I started I was very much about prolonging my youth by photographing young people in a way; this was kind of like a documentary approach with teenagers. I feel as I've grown up more it feels a little fake to do this sort of youth culture, and when you say "older" models, it's basically women around 30, which is my age, so I guess it makes sense.

Christopher Michael: After the discovery of your work and my initial obsession with the idea that you were our generation's soon to be Andy Warhol portraits person, I delved deeper only to discover that you're quite the entrepreneur through and through! Most people are familiar with your incredible illustrations that have been shown in numerous fashion publications including various Vogues, but tell us more about the licensing and additional interests that fall under the umbrella of Danny Roberts...

Danny Roberts: Oh, thank you so much. Wow, such an honor to even be compared to Andy Warhol. Yeah, I guess I've always been an artist and entrepreneur. I started a little business selling used golf balls to golfers when I was 8, and also started a clothing company when I was 13. I like art & business for the same reason; I'm a builder. Ever since I was little, I liked to build things, whether it be a Lego castle, a layered painting, a short film, a blog, or business.

CM: Selfishly inquiring as I'm sure many could agree, how does one go about obtaining a portrait by Danny Roberts? Surely there is some incredible fee or long waiting list to endure...

DR: Hahah. Well, the best and easiest way to go about it is to e-mail Info@igorandandre.com, and attach some pictures. As far as a waiting list... there is a bit of a waiting list. And pricing just depends on what a person wants ;)

CM: I want I want..... At a turning of the page in our industry's culture, the new and improved 'it kids' are today's fashion bloggers. It seems a small, yet select group of you have been receiving international acknowledgement by some very key 'powers that be' in our business as of late... What sort of experiences have you had in being considered one of the relevant contributors to this newly discovered realm of bloggers?

DR: It's been an absolute complete honor! It's so incredible because my brother talked me into starting my blog. I did it, not really expecting that anyone would actually read it, and it's been one of the most amazing experiences ever. :)

CM: In terms of being commissioned by magazines to perhaps illustrate editorial or art their pages throughout the editorial section, how open are you to the requests and proposals currently coming your way?

DR: I'm definitely open. The biggest thing for me is time. I like to have enough time to do a good job.

CM: In the past year or so there also seems to be a return of illustration to the fashion pages that have so long been dominated by photography, this making it a perfect time for you to enjoy quite a lot of opportunity as an artist. Aside from being happy about this, why do you think illustration is coming back as prominently as it is?

DR: I think with the rise in technology, it has made perfection something attainable with photography. I think, as a whole, people relate more to imperfection instead of perfection. So I think it's the imperfections of painting and illustration that are helping it come back.

CM: That is so true, I personally prefer the flawed or obvious special effects rather than the attempt at perfection as well.... At 13 you already had your own clothing company for t-shirts, in your early 20's you've managed to collaborate with the likes of Gwen Stefani and Lancôme on licensing and design deals and be covered by Vogues in countries around the world, it seems pretty clear that your talent is not really restricted by any particular medium and that fashion is the root of your cause... Do you think we may see a collection of your own some day?

DR: Yes, I think, very possibly. I still design clothes for fun in my spare time, and I hope to dabble in that in the future. I would love to help in creative directing for a line. :)

CM: Now our minds will wonder which Line will be first of course.... With models as such a frequent subject of your work, how much do you keep up with the 'who's doing what' of the business? Are you quite familiar with the girls in general? Do you find yourself scanning agency websites or just take them out of style.com shots and magazine images?

DR: Yes, models are definitely my favorite subject matter to draw. I don't really monitor the 'who's doing what'. The way I usually decide who I want to paint is if I see something in a girl that I feel like I could capture on paper. I can usually tell at first glance if a person is a fit for my style or not :)

CM: Amidst your multimedia hurricane, what can we anticipate from your ongoing and ever changing realm of work?

DR: I'm hoping to launch a web channel in the near future, that covers art, fashion, & music. I'm still looking for contributors to the shows. Also, I've been working on writing a music album. There are a few collaborations I'm working on, but it's too early to mention them yet.

Christopher Michael: "If I've got a style, it's that I have no style," the sum of your style in your own words...it couldn't have been said better. If you've yet to be limited by any particular branding, what then do you think is the constant in your work that brings forth the Advertising clients and magazines alike knocking at your door?

Sølve Sundsbø: I hope it's a level of sophistication and quality. It's hard to analyze your own work, but I think the constant for me is that the work shows my curiosity and respect for the people I photograph.

CM: You've referenced the incredible amount of dedication that is exchanged during a working relationship between the 'teacher' and his assistant when talking about your time with Nick Knight...Have you run into a similar relationship with one of your own assistants which feels comparable to that?

SS: I have been very lucky to have had incredibly dedicated assistants, and I couldn't pick one specifically. There is no guarantee, unfortunately, that if you are a good assistant you will make a good photographer. Nick has been a persistently good teacher for his assistants over the years, and I hope that I can bring those lessons to my assistants as well.

Q: One of my favorite things about you is your blunt way of speaking laced with the English accent, and yet you've claimed to be shy... how does that work?

A: I think it is important to say what you feel. I have never been good at small talk. When I shoot portraits I can talk Non-Stop as I feel a different person behind the camera. I also like to listen to people who speak their mind and express themselves freely.

Q: I've seen a few Still life photographers whose work is incredibly beautiful, but it is not the most common for such Photographers to turn around and shoot a model with as much precision and beauty as they do an object. You however seem to be capable of executing a consistent amount of beauty regardless of what your subject is..Aside from what we would assume as the obvious differences, how do you approach a photo differently in these two scenarios?

A: For me working with a model usually involves collaborating with a team. I like experimenting with hair and make up to change the face. To this day it still amazes me to see the transformation that is possible with still life, it becomes about looking at what you have in front of you. I look at trying to find the essence of the object. Unlike beauty, still life stays much closer to what it is and photographing still life can often become rather mechanical. You choose to light it by experience or even by what you have at your disposal. Recently I have tried to not make it look like it was lit in a studio. Still life photographers seem to use the same light and take fewer creative decisions.

Q: You've said before that when you do portraits you go in having your own opinion of the person and manipulate the shot into the way you see them, a favorite was your regal and dignified portrait of the Grand Madamme Vivienne Westwood...what is a personal favorite of such portraits for you?

A: This is much harder a question than it sounds. These days I rarely shoot portraits and I find it impossible to take a picture without an opinion and without extensive research. I like a picture that I did of Matthew Barney. I wanted to manipulate his appearance in some way like he does in his own work. Too shy to ask directly I chose to skirt around the issue. Anyway, he turned up with this plastic of sorts and his intention was to place his hand in the plastic. I let that go for a minute and then told him to push his face into it. I like this photo a lot and the experience holds great memories.

Q: The October Vogue Italia beauty story by you and Nicoletta Santoro left us with a beauty Cover that I could picture hanging on my Wall as an incredible Painting, what type of Art may we find hanging around on your walls?

A: I have 2 pieces by Adam Fuss, but they are leaning up against the wall. I also have a beautiful picture taped to a wall of Tilda Swinton that I ripped out of a magazine.

Q: There is something really great about torn out magazine pictures taped to a wall, brings you back to the high school days and collages all over the bedroom walls or something.... Lately there have been a lot of articles and heated discussions on the subject of re touching, so much so that France has even considered including a 'credits' section on the page stating what alterations had been made to the photo. As someone who considers re touching nearly as important as photography and comparable to hair and make up, where do you stand on this new wave of Re touching Ridicule?

A: Why do people find this controversial? I don't see photography as real or truthful in the first place. It's all manipulation and a huge Lie. I have gone too far in some cases looking for something pushed to the limit. It's like plastic surgery, too much is hideous. It is a Valuable tool, the trick is how to use it.

Q: Well Said. As an artist, there is always a driving force at the base of one's work....Anxiety, frustration, passion, ambition, curiosity....what would be the word to sum up the root of your cause?

A: OBSESSION

Q: A tidbit of info that many may not know and quite a claim to fame in it's own right is the fact that it was none other than Alexander Mcqueen who designed the wedding outfits at your Marriage...how is it that one gets Mcqueen to Custom design their Wedding outfits?

A: PASS

Q: Your beauty photography is renown and unlike the typical aesthetic in most beauty photographers casting, your girls tend to be special and different and of a more 'edgy' or 'quirky' nature...what quality draws you most to a model when making decisions on casting?

A: I look at their books to see how much of a chameleon they are.

CM: Joseph Altuzarra, a name that frequently falls upon the lips of the current Fashion frenzy. Paris born, and yet you chose to work with American designers in your early days, what was the initial attraction?

JA: I think that, like most things, it was about being at the right place at the right time. I sent my resume to Marc Jacobs after College, but if I hadn't gotten an answer I would have probably gone back to Paris, and tried my luck there. I was hoping I could stay in New York though. I love New York, I love the energy and the freedom. And I love my life here. 

CM: New York is indeed the center of it all isn't it? Or so it feels.... It's funny how we spend so much time trying to decide what it is exactly that we want to do for our "career", and yet more often than not when discussing a success story with someone, they will always tell you "I never really planned to do this". You yourself started off as an Art History major and never really planned to work in Fashion. What initially inspired you to send that resume over to Marc Jacobs? 

JA: I have always been interested in fashion, from a very young age, and I drew a lot, and was an avid magazine reader. But I was also interested in a lot of other things: music, cinema, art. I wasn't sure what I wanted to do, because there are so many things that are fascinating to me. In the end though, fashion is the best thing for me, because I'm able to learn and discover different things, and incorporate them in my work.

CM: I think an interest in all of those things is definitely a major contribution to the makings of a talented designer..I was at the show this season and aside from the beauty of the collection itself and the incredible casting, the hair and make up was another personal favorite detail of the show. Is that something that you also take part in when the decision is being made on the "look" etc?

JA: Absolutely. It's something I discuss with my team fairly early on, and that we kind of mull over, think about. Laurent Philippon does the hair for the collection, and Tom Pecheux does the makeup, and they are masters at what they do. I also think that at this point we are so comfortable with each other that we can have very free conversations about the direction we think we should go in, and new ideas. And of course, working with Stefanie Stein, who did the casting, was crucial in taking us to the next level, and developing our image. In the end, it is a team effort, and I am lucky to be working with incredibly talented and hard working people. 

CM: The Show this season was styled by a Priestess of the house of Vogue Paris, Melanie hyunh, how did you two initially come together and start working with one another on the show?

JA: Melanie and I have known each other for a while, from living in Paris. Initially we were just really close friends, which is why I asked her if she would help me with Altuzarra. She understands me better than anyone, and has an incredible eye. And it's important for me to be able to have an honest dialogue with someone about the direction of the season, and vision for the brand, not to mention whether or not she would wear it!

CM: I don't think it's a secret that the New York Fashion week is quite thrilled to have you showing here, but naturally it's come up in question as to why you would choose to show the collection here in New York over your hometown of Paris?

JA: I think Paris is such a wonderful and inspiring city. I draw all the collections there, and do research there, and work with a primarily French team. But New York feels like the right city for me to show in today. It embraces new talent, encourages it, and builds a very strong community of designers, editors, and buyers.

 CM: As a self proclaimed "child of the 90s" (me too!) You've attributed some of your early inspirations to designers like Jil Sander and Helmut Lang.. What other aspects of yourself do you affiliate with being a child of this particular decade?

JA: Mainly, some bad taste in music and movies!

CM: (Laughs)..That is all too true of a statement! Tom Ford is an incredible Icon and impeccable Talent internationally respected in our business, its been said that he is your idol in the fashion industry... Obviously there are many reasons to hold him so high but what is it to you that make's him an idol?

JA: He was really able (and still is) to make clothing that was both very desirable, while driving fashion forward, which I think is a rare talent. In the end, he made women look beautiful. And you have to admire how strongly and one-mindedly he developed a brand. 

CM: One of my favorite things that you've ever said is that you like working with people who are at the start of their careers, so that way you all get to grow up and succeed together. When this economic crash started, everyone was wondering if it would push us back to powerhouse names or if it would make room for the new. In a sense I feel as though it's done both at once, what's your perspective on this?

JA: I think working with newer people is very important to my process, because we all share the same drive to succeed and to innovate. I can't build Altuzarra on my own, and the strongest way to do it is to create a family of peers who you can grow with over time.