Nothing is quite what you expect with Gucci. I'm just happy to be a part of their adventure.
The fragrances are really a dream about the possibilities of a life. Nonconformity, no judgement.
I like to think that people can see that and appreciate that idea and then, by some mechanism of wearing the fragrance, sort of carry that idea with them in their own life. Whether it's a weekend in Louisiana or in New York City or in Venice, Italy, or wherever they may be. I think there's something kind of fascinating and powerful about that.
I will wear the same thing for three years straight unless somebody, like, forces me not to. It's like, hey, I got this Gucci sweater.
So I'm wearing that today. And I wore it yesterday, too. Maybe I'll wear it tomorrow. I just collect stuff, I guess.
I hate shopping at stores, online, anywhere.
I mean, if I'm going to the Oscars or something, yes, there are people that are contributing and I'll tell them what I don't like or whatever. I know what I don't like.
I kind of follow that when I get dressed. I think if it's comfortable and it's cozy and it kind of makes you feel good, then those are good reasons to wear something.
I don't really care what people say. If I'm wearing, like, a tie-dye onesie and I'm in the middle of the desert, I'm not doing it for fashion points; I'm doing it because it's fun or it makes me feel good.
I really don't give what I wear very much thought.
[Alessandro Michele] is finally made clothing for men that is as fun to wear as the clothes that women get to wear. That's not often the case. There's a sense of joy and celebration in it.
I remember seeing this image of these women wearing these bright clothes and patterns, and it struck me. I remember taking note and going, like, "What is that? Who is that?" and finding out it was Gucci and being surprised.
I think when Tom Ford was there I borrowed a Gucci tux one time, and they were very nice and he was very kind.
A little ego can be quite entertaining. But [Alessandro Michele is] a very humble, gentle, kind person. And I think that his humanity would probably surprise a lot of people, because he's so confident and bold in the choices that he makes.
I think people would be surprised by his [Alessandro Michele] humility.
This is an industry [high fashion] that has an abundance of over-confidence. I don't think anyone would dispute that, and I'm not trying to pick on anybody, but that's just a fact, right? And sometimes that's fun.
I thought it would be a great opportunity to work with someone that I really like and really respect as an artist [like Alessandro Michele].
I never really wore Gucci. I never did.
Alessandro [Michele] has really done the impossible. He's taken this classic brand [Gucci] and really turned it completely around and taken it in a direction that was so unexpected. [Alessandro and I] met and became friends here in L.A., and then we got to know each other and he asked me to do this. It was really organic and not the way this stuff normally happens.
I had traveled to Russia and met with Snowden, which was a pretty involved meeting that required encrypted communication and the like. And it was fascinating because of who he is and what he's done. And more so because what's going on between our two countries, Russia and the U.S., and to meet Edward Snowden in Russia was unforgettable.
As we breathe and live, have a conversation, and you look in someone's eyes, and you see a sunset or have an argument or read a book or see a painting or whatever you do, it influences you. And as you live your art, it changes and grows just like you and your soul or whatever you want to call it. For me, it's never-ending, I call it "the organizer of chaos." That's what I do with this and I present it in a way that I dream. So basically, I'm just sharing my dreams with all of you.
I always love to put hidden messages in my music videos, because I know there are people like me who, when they watch something, are really active, involved participants. I'm not usually a really passive listener or observer. So I do put those messages in there for people who spend a great deal of time [looking for them].
I never really expected "Hurricane" to be censored and banned around the world, but I think the good thing that came from it was that it created a dialogue, a conversation, a debate and a discussion. And that's a great thing. It brought all of us together in a unique way. And it made us look a little deeper in ourselves. I think it's a good thing.
When I was a kid, I used to live in New York City. There was a guy named Michael Alig. He used to throw parties. And a couple of times, I even worked for him and his crew, and handed out fliers, and had my super-high shoes on, and wearing silver Saran Wrap around my head or something. It's a world I was really comfortable in: a world full of individuals. I think what I like about that world - besides my own personal interests - is the individualism, the investment in the self.
One of the reasons I moved away from painting was because I eventually discovered that I wanted to deal more with motion, time, and performance - and that became a much bigger part of my life both as an actor and as a musician and someone who goes on stage and travels around the world and works on productions.
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