I think we all have those particular pieces of clothes that we really like, because it ages well, because it fits you well, because you feel comfortable, and you feel confident in those clothes. All those aspects of good design are what I'm interested in.
If I really think about what drove me from the beginning to become a designer, it is really the idea of trying to make everyday life a little bit better - to make it more functional, more desirable, to improve quality of life somehow.
I try to bring as much taste, smartness, quality, functionality, and aesthetic qualities to everyday clothes.
I'm interested in the poetry of reality.
I'm interested in the intimate relationships we can have with those good clothes that we may have in our closets.
Through designing clothes, I try to bring solutions to people, and I'm interested in the everyday relationship we have to clothes.
Everywhere I've been working, I always had in mind the final destination of the clothes, which is the consumer.
This is what I've always been interested in, trying to make timeless, functional, real clothes.
Let's try to bring more style into basics, and let's touch real people all around the world, people who don't really care who Christophe Lemaire is.
I'm trying just to do good clothes, clothes that you need as much as you want.
For me, the fashion show, the image, the shooting, is just a step. It's just a moment, but it's not the final destination.
Even in the good sportswear, streetwear brands, you can't find that quality.
I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions.
At Hermès I learned, maybe more than anywhere else, how to work around a legacy, and how to integrate a strong brand culture into my work. Also, to work with a completely different projection system and craftsmanship.
I very much believe in the collective work and the team dynamic.
Let's forget about themes and mood boards. Let's start from a different point of view. You have to leave for two months all of a sudden. What would you put in your suitcase? What are the twenty essential pieces that you will need and how would you design it to be cool, and you'll want to wear it?
At Lacoste, I learned how to drive in a very conservative environment. I had to learn how to do politics, how to talk, how to explain, and how to communicate a vision, and the necessary link between marketing and creative teams. Also, very important, the shop experience, which was actually very frustrating at Lacoste.
Every company, of course, teaches you so much humanly and professionally [about] yourself and your creative process.
It's true that I've made mistakes, but I know I shouldn't do them again.
Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.
With the right team, you can really save so much time and energy. Whereas if you don't have the right environment and the right support from the company, or the right team, it can be extremely tiring and frustrating.
[There are] so many things I've learned, and I'm still learning, actually.
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