'The Locker Room,' featuring interactive RFID technology and 'Boxing Ring' photo booth

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GQ: How did this partnership come together?

** Véronique Nichanian:** I discovered Leandro's work at the Venice Biennale in 2001. He was presenting his famous swimming pool, which I thought was a masterpiece--so interesting, so clever, so charming, and so poetic at the same time. It represented everything I like in the arts. I came to Miami last fall and thought it full of energy. This collection is sporty and full of color, so I thought it was nice to do something special in Miami and maybe ask Leandro to participate and give him carte blanche with my whole collection. We met for the first time in February in the Moore and discovered the space together. It was so funny because it was as if we had known each other for many years. And we've done this thing in three months, which is a big challenge.

GQ: Leandro, what did you think when you first got the call to collaborate on this project?

** Leandro Erlich:** I was very excited. First of all, I was very flattered that Véronique thought about me to create something with her collection.

GQ: Were you familiar with Véronique's work prior to this project?

** Erlich:** Yes, of course. But I didn't know Véronique personally. It was very, very exciting from the beginning because, as Véronique said, we saw the building at the same time, we realized how difficult it was, and we both got excited with that challenge. It was fast and at the same time intense and I think it was a real collaboration for both of us. I would say it wasn't until late yesterday that we ultimately saw what our collaboration was about. When the last shirts were hung in the installations we realized that things were melting together, two languages were interacting. There's nothing to sell. It's a celebration of creativity.

GQ: Would you say that your collaborative process has been as fulfilling as the final project?

** Nichanian:** Absolutely. It was not so easy to realize because I was in Paris, he was in Buenos Aires, the team was in New York. It was a collaboration on the phone, on the screen. And at the beginning we spoke the same language but we did not understand each other exactly so it was difficult. We really wanted to work together. It's a mix of innovation, my creations, the Hermès world of men, from the shoes to the bags and all the accessories, and this fantastic creation.

Erlich: I would say it's an event talking about creativity, about innovation. Hermès is a very established brand and has its own identity and as soon as you imagine that something is established you really think to yourself, "why keep trying?" I would say that this, from an artistic point of view, keeps looking forward.

GQ: Why do you think that so often the worlds of fashion and art collide?

** Erlich:** Because fashion is art.

Nichanian: All the details I put into clothes--it's not a total look effect, it's one piece. It's always very interactive to work with an artist because they know the way to emphasize an idea. And what I do love in Leandro's work is the generosity. Because it's not a piece that you look at from outside--it's very interactive. It's the same effect when you put on clothes. It's for yourself. I feel that each piece he does gives you an emotion and that is very important.

GQ: You both mentioned pulling this massive installation together in such a short time. Does problem solving in your design work bring each of you satisfaction? Or as artists are you never satisfied?