From Jodie Foster’s 1992 trouser suit to Isabelle Huppert’s Met Ball beret, the designer explains his pioneering role in red carpet fashion. And why the combination of glamour and dissent is a logical development
• Read more from the spring/summer 2018 edition of The Fashion, our biannual fashion supplement
I love sophisticated simplicity, preferring a sobriety that may even appear eccentric, but I owe a lot of my success to red carpet events. That’s where my name has become synonymous with a certain take on glamour: modern, pared down, yet brimming with magic. Stardust attracts the public and makes them dream. It also makes them think. More than ever, the red carpet has become a place for protest as well as ostentation and stardom. In my long career, honestly, I never thought that we would take things this far and I’m really impressed. The transformation of an occasion of pure entertainment into an opportunity to push for change, as is happening with the #MeToo movement, is a turning point. But we live in a hyped-up era, so the combination of protest and glamour is a logical development.
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