Dior, Paris, Michelle discussed on RuPaul: What's The Tee with Michelle Visage

Automatic TRANSCRIPT

We are back with him Jones, and we've got Marc Jacobs here. Michelle is in here right now, but we're doing a little extra something here at drag con live in New York. This is very special for us because we usually don't do remotes like this. We usually do. We should do a normal studio, Michelle and I and here we are with these top designers, Kim Jones is now at Dior, which and you doing, do you feel when you go to these houses? Now let's to a Mark. You've done your own label but also gone to these houses. Do you fill the pressure of what the house is? You feel the need to carry on a certain dialogue or a certain silhouette or style that the house is known for into your work when you when you get in there? I like to the codes of the house somewhat with those for me, that's the most exciting thing. And it's such an amazing. Skydive is just, you know, there's so much to look up. Yeah. And you know a deal was like a gallery before he was a gallery, you know what? Many of the leading autism his time. And then you know, you'll say, became a career that so much to look after see of his life as well as just the cards to getting spot by to respect what the house means. And you know, I work for the house. That's how I it. Yeah. And and how long have you been at Dior any six months. Six months. And your first collection was just the other day? Yeah. And when you look back, it's just the other day, do you feel like you hit the Mark that you wanted to hit? I think so. I mean, it was very fast. I had two months to do this. I, you know, it was like, I'm very proud of it, and I was very happy with people seem to like it. So you know, I just, you know, you get into feeling of right. This is what I want the house to look like him people with receptive to so. You know, that made me feel happy about and you're doing Mentz. Yeah, the men's because the other, the Italian guy does the woman the talian. Oh, they all ch- changes. I can't keep up. I can't keep up with who's doing what? Who's doing who, who's zoom in. Can you? Can you keep up with sometimes preferred? Not to. Yeah. Yes, it's a choice, but when I choose to, I can. Now when you were at a Vitton, you really shook things up with you really went punk rock with that thing. It was very different. My my experience because there had never been anything in terms of ready to wear fashion accessories when I got there and you know, I went through a lot of trials and tribulations to try to figure out what would fashion look like at Louis Vitton you know, since all they were known for at that point was luggage, you know, and so is the little. It was a little challenging for me in the beginning. And then when I sort of found that the best way for me to approach it was to celebrate what we know of we Thanh and bring in other artists to collaborate with. That's when things started to really come together. And of course, I worked with Stephen sprouse to customer a commie Lahser Rennes. Yeah, you know. And so that that felt very European in sense. And also it felt like a way to be visitor at we ton and celebrate their monogram, etcetera. Oh, my goodness. I. Just I, I wonder, I go this collector's items. Now all of those things that you did there, all those crazy. I mean, you really, you really just deconstructed it and then put it back together again and made it so fresh. And so do you miss doing that? Yeah, I do. I mean, I miss being in Paris during the Paris fashion week. I mean, I don't think I would ever say that while I was there doing it, but of course not having it left a hole, you know. And so I was used to kind of like flying off to Paris the day after our show in New York and being exhausted, and then you know, rising to the next occasion and and I do kind of miss it and I missed my life in Paris. Yeah..

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