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  • mmm

  • the first time that they met Mark

  • and that was a I would say probably something like twenty years ago he was a

  • young designer

  • he was actually just left Perry Ellis somehow it was starting to work for

  • an Italian company I mean icebergs

  • and I was the journalists for norm

  • for love or going to embolden I was I was called to do an interview and to

  • find out what was these new talent cellmark

  • on how was a your life before that famous

  • ground show in 1992 that kinda got you fired but also put your

  • on feiyr I would say and you know how did you get involved in fashion

  • I'm hello everybody I

  • the I my life is pretty much the same as its always been

  • I i wake up in the morning and I'm pretty excited about what I have to do

  • kinda scared usually but excited at the same time in

  • I was I was given the job at perry ellis at a very young age and II when their

  • everyday certain feeling like I'll just do the best they can

  • you know it was a little overwhelmed burstyn and kinda

  • as I became more comfortable there I

  • I wasn't afraid to just sort of do what my instincts

  • told me was right and it sorta accommodated in that final collection

  • which was Brunswick really I mean

  • even the the collection before that I was just doing I was

  • I should stop trying to please or doing what I thought other people wanted from

  • me

  • because in the beginning I was second guessing in thinking always this with

  • the people Perry Ellis one is this with the licensees one is this

  • and then finally I just threw my hands up in the air and said you know I was

  • given this job based on

  • what people thought of me and I have to trust my own instincts and and do what I

  • do

  • and once I did that I was responding to what I felt

  • was changing at that time which was

  • a photography the look of models there was this kind of

  • anti glamour kind of movement and something that felt very fresh in very

  • new to me

  • you know the work at Green Day Juergen Teller models like Kate Moss

  • sell a tenant I mean they were all sort of coming about and it was very

  • freshen I also was I've always been very interested in

  • art contemporary art music and pop culture so I'd love this music and I did

  • this collection

  • which was true to me in and I think it really outraged

  • I some people which which I to this day still serve

  • I don't know I look back on it I just think it was fine it was and it was no

  • big deal

  • and and I mean it which I was just saying earlier before I came here you

  • know

  • the irony is so many people dress like that and I felt so many people just like

  • that then

  • so again it just some it was always

  • just what I thought was right out different is New York the New York

  • up those days from the new york today I mean everything when you come here

  • now i cant what did excite you you know like you ever been here for

  • in a few days alike few weeks and do you find

  • part shows that I XIII like a you go to clubs do you go to

  • clubs and concerts music club sucks so much music I I always love and I

  • I yeah I really love music and I i do try to get as many calories as possible

  • yeah I i mean immediately the day I arrived in fact

  • on runs and I went to all these galleries we saw some shows in

  • I'm very stimulated like I said there's nothing that stimulates be more than

  • something visual in fact my

  • introduction to music II broder I wrote a

  • same ones for this punk rock balkan I I kind of had to

  • I'm not a writer at all and I had to feel like what how could I

  • right about this that I don't know anything about and and I realize that

  • get my introduction to things is always coming from a visual place first

  • I was so enchanted by the look up what hunk look like

  • that I went to hear the music or you know and that's how I learned about the

  • Rolling Stones I mean make

  • and Keith were so incredible looking that I had to listen to what they had to

  • say

  • you know and and a son just a very just like Chris Rea

  • for visuals I i mean image oriented person you know that's what really turns

  • me on

  • and then you left and you move to Paris

  • that was ten years ago yes and

  • how different is your life there from the life you had here

  • for on I

  • it is very very different I'm in New York I kind of came up with this little

  • summary of like if if you have five minutes free in New York you're a

  • failure

  • and if you have five minutes free in Paris your success you know it's just

  • like

  • a very different kind of thing like even though I think we

  • by my cell by myself my team we all work very very hard to mean

  • we be there's just a very different pace

  • and a very different energy in a very different spirit

  • and I mean you know going going from where I live in Paris to the office

  • like I just marvel at the beauty of Paris and I kinda

  • really enjoyed a everything in it all seems to move in slow motion

  • whereas in New York it's just like rapid fast

  • at it you know cut to dinner cut to next party cut to

  • you know being at the New York Times and Sunday and that you know whatever it's

  • just that

  • you know really rapid fire well it took about the reasons

  • while you went to Paris that is that work to work for

  • louis vuitton and you know how

  • mister I'm no end the group a

  • approach you in 1994 and then you went well you know I'll October

  • I think I'll long time before getting to a real contract and

  • how did you adjust to D's LVMH corporate culture to the suits and

  • when did that relationship like with the retreat on kinda

  • turn around I mean basically when did you fall in love with the bags

  • you know I E was a nervous wreck about the whole thing and at the time the new

  • yorker did this

  • to profile and I must say I mean I literally alienated myself from everyone

  • in the suit at LVMH because

  • II I've always been very outspoken and I don't know how to behave another way

  • maybe it's the new york

  • June erotic person that I am but mom

  • you know I just say with some I'm a beast too many years of therapy or on

  • I don't know but so I would say things in this article like I'm afraid you know

  • I don't really understand what the Purcell once the me in the summer could

  • be a drives me not seen is that a communication but I really don't like

  • him

  • so this all came out this very extensive profile and I mean literally

  • rover every resident have every brand her

  • turned their backs on us and I just thought of this is great like for some

  • american

  • nobody wants me here but mister are now and then he takes me out to lunch and

  • says you're really gonna have to fight to get things done here cuz

  • you know they don't want you yeah and as a gray this call

  • so I don't know that I've ever really adjusted but with again to demystify the

  • whole experience what changed things

  • is when I embraced the thing that I that I think most people identified with

  • louis vuitton which is their famous monogram

  • and I said I'm gonna celebrate this this is the only thing I've got to go

  • with because it's the company I mean it's not

  • they don't have an equestrian heritage they don't have a designer who

  • you know created a look in the twenties the there was no archive there was no

  • nothing

  • so how are you you know how where travel clothes today

  • I mean people wear what they want to travel to Iran you know anyone strong

  • and I don't think there's anything practical about traveling with the trunk

  • you know there's

  • with the most luxurious way to travelers with a toothbrush you know that that

  • it's like end of story who haven't you know the people who really live

  • luxurious lives

  • don't need to pack they've got stuff wherever they go

  • so I thought I so i thought well this is not what we talked about what return is

  • about is this

  • i'd it's this branding this is what makes it actual

  • what people love is being a member of this club this club that says

  • I have a Louis Vuitton bag and the symbol love it is this iconic Monogram

  • soon as I decided to embrace that I had a much easier time

  • and what changed my life there with corporate LVMH

  • was basically the opinion of one person I only work to please one person and

  • that's mister are no

  • he gave me the job he wanted me there he believed I could do it

  • and when he's pleased I'm pleased and the only way he's pleased as we sell

  • a lot Prada but that's all so things really have changed for me

  • when we had our first commercial success and I was like you know what

  • his stay that said they sold X millions of dollars the bags in two weeks

  • his stay and live with that and that's what my life take its

  • what is your creative process how do you start a collection and how does it

  • level up i've seen you know documentaries we have a little familiar

  • with like these

  • handover starts with an idea and then your move into something else and

  • you know it I i'm nonlinear younger

  • yen my attention spans pretty short but I am

  • what happens is you I mean it can come from different places we always start

  • the season

  • looking or talking about I mean we all do I mean it's a group of designers

  • their people work on hand thanks people specifically work on shoes

  • on textiles et cetera we'll just have to bounce ideas off each other

  • and I mean I have those meetings a couple things taken then we

  • we sort of develop a color palette but again nothing's ever etched in stone and

  • I'm a big believer in it ain't over until

  • it's on the runway so you know a long dress could end up a short dress and a

  • red what

  • if read was the most important color to you at the beginning of the season

  • you still have six other colors in the palette and read may not be important in

  • the end it may just be a punctuation at the end or

  • so you know a collection is a collection of thoughts and ideas

  • and for us in the way we work with the at leaa

  • or the studio here it's an evolutionary process it's not like

  • it's decided in the meeting and then we go about executing this one

  • singular idea but one thing is like a ping-pong sorta

  • match for something an idea goes that way then it comes back that way and then

  • one things worse burns

  • you know or or Spurs another thought and

  • and that's where it goes and and sometimes you know me being here in New

  • York and then

  • arriving in Paris I see something unlike I love it I love

  • those rabbit series lead to more about you know I was something silly you know

  • you have some kind of a childlike attitude some kind of freshness i mean

  • you know it's like you have the sense of wonder as you said before

  • you know that you bringing always to

  • the job to the product actually I

  • love doing it i mean again with all the difficulties in the obstacles one has to

  • deal with it still what I want to do it's a joy and

  • it's not necessary this is all a luxury I mean passion isn't what people need it

  • it's a joy it's it's part of the art of living

mmm

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A2 初級

マークジェイコブス|インタビュー|TimesTalks (Marc Jacobs | Interview | TimesTalks)

  • 30 3
    侯盛元 に公開 2021 年 01 月 14 日
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