How would you define this new collection?
I'm really repositioning the brand. The idea is to offer a wardrobe that embodies ready-to-wear with couture, contemporary and wearable, everyday touches.
Which means?
Silhouettes with architectural asymmetry. Pleating, draping, layering, black and white. I've created new ‘emotional’ prints. A year ago, I experimented with markers and pencil on paper; I took them out of the rubbish to create a print. Now I'm working it on reversible knits. The all-over of the early days is becoming more refined. I'm getting back into the knotting game, using the cloth from parasols that I saw in Marseille to make dresses, coats and thick woollen jumpers.
Your school, Les Ateliers Alix, has just signed a partnership with Chanel. What matters most to you today?
Chanel recruited young people whom we trained, who proved their worth. This exclusive partnership enables us to support the school and recruit potential talent. This quest for excellence is present in the brand's wardrobe, as much as in its transmission.
What does this year mark as a turning point for you?
I've created a lot of tributes, but for the last three seasons I've been refocusing on this quest for excellence. Everything is made in France. We want to promote craftsmanship. It's easy to fall into clichés and think that we're into streetwear and oversized clothing. I want to show that I'm a brand between Paris and the suburbs. I'm a fan of Margiela, Yamamoto and Miyake. And I'm an admirer of Chanel and Hermès, which are founded on traditional craftsmanship. I want to create beautiful things. And to share emotion. I like to go where I'm not expected. Offering beautiful work means breaking away from uniformity. It's my way of being rebellious: going for what I believe in. I'd like to pay tribute to the woman who helped me, Madame Thomas, the best craftswoman in France, who learned haute couture at Balenciaga, then at Madame Grès, before going on to teach. When I met this woman, I met couture. My work is also linked to my passion for Lee Bul, a Korean artist. Thanks to them, I've found my way.
What is the most important thing for you today?
Innovating based on a precise knowledge of techniques. Developing a deconstructed pleat, one that doesn't read flat but is inspired by volume. Not to go in all directions. Keep your obsessions in mind.
This interview has been slightly edited.
Laurence Benaïm
