I’m able to be . . . to create large vision of a collection at the moment. And then within that, I’m able to build every detail and texture, and create new kinds of construction and form, and really be able to put new looks and new shapes into the environment. The variables in fashion between fabrication, between make, between volume and shape can . . . you can create form and ideas that haven’t been there before. I don’t . . . There’s so many references in fashion. And for me it’s very interesting in having one’s own point of view and being non-referential. There’s fashion. You know fine arts painting, they don’t have that same kind of exact schedule of creation, shipping, and production. And then just sort of my own creative struggle of creating within an understood formula within that commercial means – within consistency. Having restraint is a great struggle of mine. Finding, you know, balance – reality versus “surreality” – of creating is always a struggle. It’s only been five years. I think becoming more aware of the fashion world. I never read magazines growing up. I really only studied historical fashion. I studied at the Costume Institute and went to design school. But when I started, it was a much stronger pop sensibility to the collection I made. They were much sharper in angle. They had a great sort of deconstructed freedom to them.
Recorded on: 7/31/07
Discuss
Erin Skinner on December 18, 2007, 4:46 AM
Mr. Posen mentioned that he often battles the need for restraint in designing at times. If restraint was thrown out the window – in his opinion – how would his clothes be different in form, shape and color than they do presently?
Erin Skinner on December 18, 2007, 9:46 AM
Mr. Posen mentioned that he often battles the need for restraint in designing at times. If restraint was thrown out the window – in his opinion – how would his clothes be different in form, shape and color than they do presently?
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