MY LIFE LIKE A MONITOR ON THE WORLD
Saying you're creative is not sufficient to explain what “working for creativity” means. Before you can bring a project, like a collection for example, to its conclusion, there is always a period of observation, research and analysis. This is what I do every day, because I believe that the most innovative things come from combining different topics, sources and feelings.
By now you'll be familiar with my love of the word “contamination” (the next issue of SCS is inspired by this definition). I'll never tire of saying it: a creative person's life is all about searching (see the word coolhunter). If the creative person's eyes and mind are not open, they will never make anything good!
I taught at Polimoda for many years and I often repeated that the creative person is first and foremost a “monitor” of what is happening or taking shape in the media, in fashion or, more broadly, in life. In short, making a distinction is the number 1 rule for working in the fashion system.
A stroll around a city must be experienced as a continuous mental exercise, an opportunity to look around and generate interesting visual relations, because the eyes look and the mind records the most interesting information on shapes, dimensions, buildings or people.
Architects, for example, offer this type of vision. Every detail is painstakingly designed, without losing sight of the overall idea that brings landscape, people and function together.
When designing a house, an architect imagines a kind of 3D puzzle, which is then made into reality. It's the same with a suit: first you think what you want to do, you choose the inspiration, you connect it to others, you associate the function, choose materials and colours, then you design it on paper and, finally, you make it.
On one of my trips to Los Angeles, I saw “Provocations: The Architecture and Design of Heatherwick Studio” about the English architect Thomas Heatherwick at the Hammer Museum.
The curators put together a show that explores the sources and possibilities of discovering the rhythms of invention, the creative act. I was curious to see that an architect who also designed the Zip Bag has a multidisciplinary approach that closely resembles what I mean when I talk about the “creative process” and contamination.
So architecture is like fashion, in that when you look at it you are fascinated or curious. It's doesn't matter how the observer reacts; the important thing is the reaction … or emotion it generates!