{"id":540008,"date":"2020-09-09T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/the-portrait-of-jeremy-scott-artistic-director-of-moschino-2\/"},"modified":"2020-09-09T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"the-portrait-of-jeremy-scott-artistic-director-of-moschino-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/non-classifiee-2\/the-portrait-of-jeremy-scott-artistic-director-of-moschino-2\/","title":{"rendered":"The portrait of Jeremy Scott, artistic director of Moschino"},"content":{"rendered":"\n
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Num\u00e9ro: You grew up on a farm in Missouri. What was your perception of fashion back then?<\/b><\/p>\r\n\r\n

Jeremy Scott:<\/b> I only saw fashion on T.V. or in magazines, so I had this fantasy that what you see on runways, the whole exaggeration of fashion, was real. I thought that was what people did everywhere else, just not in the little town I lived in. So I\u2019ve always had this tilted view of it. Maybe that\u2019s why I\u2019m always so strong with my designs.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Did fashion seem inseparable from entertainment?<\/b><\/p>\r\n\r\n

Yes, it\u2019s always been tied into a knot. I saw fashion on T.V. through the likes of Lisa Bonet wearing designer clothes on The Cosby Show<\/i>, or music videos where you saw high fashion. So in my mind, fashion was always connected to music and pop culture. I think that what\u2019s amazing is when fashion can marry itself to pop culture as a vehicle to bring it to more people. That\u2019s also probably why I enjoy working with performers so much, because it\u2019s a great way to share my vision with more people. Some of the performers I work with are very close friends, and I love the fact that it\u2019s not just me helping to tell their story, they\u2019re also telling mine.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

There\u2019s been a big debate in fashion lately about being exclusive versus inclusive. You\u2019ve clearly chosen to be inclusive.<\/b><\/p>\r\n\r\n

I\u2019m the \u201cpeople\u2019s designer,\u201d so how could I not be? I\u2019ve always wanted to share my vision with more people, and I\u2019ve never felt that that\u2019s a bad thing. I feel it\u2019s more exciting
\r\nto see your clothes being worn, being part of society, of people\u2019s stories. I feel sad for clothes that don\u2019t have this opportunity and, as a designer, I feel it\u2019s a failure. I think the hardest thing to do is to marry a creative idea with an industry outlet. That\u2019s what I try to do with my collaborations, for example with Adidas and now with Melissa. I try to make very affordable things that are still highly creative. I strive to do that also with Moschino, with the capsule collections, which are more affordable but still from the collection. Obviously prices are much higher with Moschino, so that makes it more difficult for people, I nderstand that. But there are still things you can have, that are very strongly connected to
\r\nthe collection and to the emotion.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019ve been described as an \u201canti-fashion\u201d designer. Would you agree? <\/b><\/p>\r\n\r\n

I never think of myself as anti-fashion, I fuckin\u2019 love fashion so much I put on a FASHION SHOW last night, you know what I mean?! I think I love fashion more than other designers, and they can\u2019t hate me for that, or say that I\u2019m wrong. I feel that what I do is more in the real sense of fashion: I try to give inspiration, a moment, something creative, something inspirational, something thought-provoking. I don\u2019t really care about sales, or even critics\u2019 opinions, I care about making a moment happen. And to me that\u2019s the reason for becoming a designer. That\u2019s what the designers I liked when I was growing up did \u2013 Jean Paul Gaultier didn\u2019t always have great reviews. But I think we\u2019re becoming a much more commercial society, even with the way we look at movies \u2212 we didn\u2019t talk about the box office even ten years ago. It was about what people liked and people enjoyed, and today it\u2019s all about numbers. So I\u2019m lucky Moschino\u2019s numbers are doing great, but that\u2019s not the reason why I do it.
\r\nI do it from the heart. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you think it\u2019s unfair that reviewers criticized your use of the McDonald\u2019s logo in your autumn\/winter 2015 collection for Moschino? <\/b><\/p>\r\n\r\n

Absolutely. Me using McDonald\u2019s signs is no different than Raf Simons using Ruby Sterling\u2019s art. When I watched the documentary Dior and I<\/i>, I thought, \u201cOkay. Just because you\u2019re using something that\u2019s not known worldwide, you\u2019re still taking something from something else.\u201d There are people in the art world who are very familiar with that and identify it, and the rest of the population doesn\u2019t. I\u2019m just using something that\u2019s more familiar to more people. And I think it\u2019s shallow of people to think that, just because I use something that\u2019s so recognizable, there\u2019s no depth to it, that there\u2019s not just as much passion. That\u2019s a thing with fashion: people don\u2019t have a sense of humour. It\u2019s weird, because you\u2019d think fashion would be fun and fabulous and frivolous, because ultimately we don\u2019t need new clothes. There are enough clothes in the world to never have to make any more. We have clothes filling up landfills all over the world. So if we make something new, I want it to be something that you need for your heart, for your soul.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

In the past, with Moschino, you\u2019ve appropriated Looney Tunes, the McDonald\u2019s logo, and also bourgeois codes, for example subverting the classic women\u2019s suit in your runway show yesterday.<\/b><\/p>\r\n\r\n

If you\u2019re taking something like bourgeois codes and these chic suits and day dresses, and you flip it with these neon colours and reflective materials that belong to the field of construction work \u2212 something very masculine and industrial \u2212 you have to find a kind of balance. If I mean to have these codes then I have to balance them with something that people think is chic and precise.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Franco Moschino used to say that there\u2019s no such thing as bad taste. Would you agree?<\/b><\/p>\r\n\r\n

That\u2019s always a tricky one. What is a bad taste? It\u2019s a risk to even say it, because in fashion things you might think were bad taste become a craze the day after. It\u2019s so subjective. I\u2019m passionate about things that are pretty much out there and risky. So I think the same: there is no bad taste.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019re friends with pop stars like Katy Perry and Miley Cyrus. What\u2019s your reaction to people calling them tacky or vulgar?<\/b><\/p>\r\n\r\n

You know, the truth is people never think about what came before and how it was perceived. When Elvis came up, he was shocking. He was shaking his hips, and it was outrageous. Now Miley had this big finger, and she was shaking her butt, but there was no moment like, \u201cOh my god, I\u2019ve never seen this on T.V!\u201d So it\u2019s generational, like if someone thinks that I\u2019m shocking today, and thinks that Saint Laurent is classic. In his time, Yves Saint Laurent was a crazy rebel and people were shocked and outraged. If people think I appropriate pop culture and art, what was the Mondrian dress? And it was shocking, it was new. Did he get permission from Mondrian to do it? No. I think people can be very narrow-minded. I\u2019m doing what my forefathers did, and Miley is just doing what her forefathers did from Elvis to Michael Jackson to Madonna. I love that people think I\u2019m shocking when I\u2019m not even trying to be shocking. [Laughs.] Some people try so hard to get attention and don\u2019t get it, and I\u2019m not even trying! I\u2019m never trying to shock people, that\u2019s for sure. I\u2019m trying to inspire and be thought-provoking, perhaps. With the car-wash theme last night, I was just trying to do something new. You guys have to see so many shows, I\u2019d just like to give you a gift: that you come to my show and forget about everything else for ten minutes. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Your shows are so different from the rest. Fashion can be so serious these days. Why do you think it\u2019s lost its sense of humour?<\/b><\/p>\r\n\r\n

I don\u2019t know. Maybe it\u2019s because fashion brands now belong to these big conglomerates. I think it\u2019s sad because, in the past, the different approaches were much more individualistic. Now things are much more homogenized. There\u2019s less personality. And that makes me sad for fashion. I don\u2019t want people to have my experience or my taste but something that is strong and identifiable. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Is this what attracts you to pop stars? That they take risks and put themselves out there?<\/b><\/p>\r\n\r\n

Exactly, that\u2019s what an artist does. You\u2019re supposed to be generous. And I\u2019m lucky that I have such admiration from these people.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you feel close to their world because, as performers, they have to put on a show all the time?<\/b><\/p>\r\n\r\n

Yes. I can\u2019t imagine having to put on a show every night in a different city, which is what Katy [Perry] is doing. It\u2019s so emotional \u2212 last night I really gave a lot of my heart, my soul, my creativity, my spirit and my person to try to make that show what it was. I talked to each model that walked the runway about who they are, the characters that they embody, I tried to give them something so that when they came out there, they conveyed a character, and gave more than they normally do on a catwalk. So I can\u2019t imagine for Katy how much she has to give of herself.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019re so highly regarded in the pop world that MTV asked you to redesign their Moonman, the statuette they give to winners of the Video Music Awards.<\/b><\/p>\r\n\r\n

It was such an honour. As soon as I hung up the phone, I cried. I mean I grew up with it and I love it, it\u2019s part of pop music and pop culture and fashion melting into one thing. So to me, this is the most iconic award, and the most precious. I had no idea that I was so respected in that world. And it went further, because they asked me to design the set and the red carpet for the pre-show. It was just so phenomenal and so moving for me. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

In the new documentary Jeremy Scott \u2212 The People\u2019s Designer<\/i>, A$AP Rocky says that, when he was just a kid in Harlem, you showed him that he could be part of the fashion world, that he had the right to be there.<\/b><\/p>\r\n\r\n

It makes me happy that my work could touch someone\u2019s life. That there are other people whose lives, whether or not they became successful like him, have been altered in a positive way by my work, my life and my energy. It\u2019s great that he\u2019s an emblem of that, and that he can be that for other people now. That means a lot to me. Because all I want is for my work to touch people\u2019s lives, to communicate, to make a positive change. There\u2019s nothing better.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

Num\u00e9ro: You grew up on a farm in Missouri. What was your perception of fashion […]<\/p>\n

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