Does it?

I think so. It’s not just professionally. Danielle is already an incredibly accomplished and well-respected photographer, but having your stamp of approval brings her to a new audience.

Well, there’s going to be certain young people that are going to get a certain level of legitimacy and then I might be legitimized by association with somebody else. There was an article, it was kind of funny, because I had just done this project with Thomas Houseago [for the Spring 2020 men’s show]. They erected his sculpture where I usually do my show, so my show would have to literally revolve around his sculpture. I love Thomas Houseago, so I approached him and asked him if would he consider participating more in my show. He came himself and did this clay installation all over the runway and I remember reading something afterwards about “sometimes a tired designer needs to legitimize himself with the glamour of a famous artist.” Fair enough. I did feel glamorous working with Thomas Houseago. He’s a major—he’s going to be a part of art history. There’s all sorts of layers of legitimacy happening. I’m also conscious that there can be some people that this is not their cup of tea and they’re rolling their eyes like, “Oh, the Rick Owens thing.” I get that. I don’t always assume [being associated with me] is a good thing.

I think it’s a good thing.

I feel, also, that there is a different way of evaluating me in this day and age compared to all of the carnage of all of the designers that have just been wiped out. That is making someone like me, who has been consistent and stayed in their own lane, it’s making me look more rare than before. It’s probably enhancing my rep just by endurance.

Ylva and Allison, SS16 Cyclops Women’s Photographed by Danielle Levitt; Courtesy of Rizzoli

Do you look at all the shows?

I look at a lot. It’s fun.

And you don’t, well, worry, that it wouldn’t infiltrate your creative process?

It does. I’m sure it does. I’m sure I’m looking at a lot of what not to do, a lot of what’s out there, and what’s been done too much. But you can find pleasing lines anywhere. I can find them on the metro, the way someone has their shirt tied around their hips. You can see something. I’m always looking at what people do. I’m thinking commercially too: That looks like something that works; that looks like something people would like to buy; how do we do something like that? I am conscious of that sometimes. Not a lot, but I am kind of practical. It’s not just all poetic whimsy and deep thoughts. Sometimes it’s just what’s out there that looks right, makes sense, or looks logical. You never know where it’s going to come from. Sometimes somebody’s going to do a skirt, and I’ll think that’s kind of flattering, that looks good for right now. I don’t know. There’s inspiration everywhere.