Shane Oliver From Hood By Air On His Success - ApollonBezobrazov

Shane Oliver From Hood By Air On His Success - ApollonBezobrazov
Shane Oliver From Hood By Air On His Success - ApollonBezobrazov
Video: Shane Oliver From Hood By Air On His Success - ApollonBezobrazov

An interview with one of the most successful and promising designers has been published in the new issue of Numero magazine. In a conversation, Shane Oliver, a street fashionist, talks about how he has been on the way to success since he founded Hood By Air in 2006.


In 2006, Oliver was an unknown upstart from the New York underground. Today, he is one of the brightest young stars in the fashion industry. His style is called cocky, but it wasn't until two years ago when Shane won the 2014 LVMH Prize that he really started talking about the Hood By Air brand. Today, he puts on experimental shows in Paris and then delivers political manifestos in New York.

- When we started, we immediately wanted to make stories about people who would not be able to ignore us. I don't want people to think, “Hood By Air? These are simple T-shirts and an inability to make a show. " Today we are starting a new chapter of the brand. I feel more confident. To be honest, I look at fashion from the point of view of an outside observer. It's so weird to be in fashion because we're doing something pretty controversial.

- I never wanted to be a “young designer”. I focus on beauty, its aggressive and dark side. I know how to do it. Sometimes it is ugly and beautiful at the same time, but people react to it. I want people to understand where what comes from. I have my own handwriting, which is understandable. The secret is to make clothes of such quality that, due to the skill, they become luxurious.

- Hood By Air is a real part of underground culture. I don't look at the world under the influence of counterculture, I just do what I think. It is very important. It is not a question of inspiration and implementation of the underground in collections and on the catwalk. The reality is that I cannot do anything other than this.

- After last year's show at the Paris Philharmonic, I wondered if the collection would be commercially successful. I needed to compare myself with other brands. But it was pretty hard, I felt the pressure last year. It was weird, I just didn't feel comfortable with HB at the Philharmonic. But this show was the right move. If I conducted such an experiment in New York, it would be a repetition. Doing it in Paris turned out to be the right idea: the composition of the collection increased, and the clothes became more theatrical.

- This year in Paris I used the word "couture" because I could not find another definition. It's a way to showcase your work, which isn't meant to be bought. These clothes are about ideas that will form the basis of seasonal collections. At the same time, it is based solely on personal sympathies: this is what I myself want to wear, what I lack. Now we have created an archive of collections, where you can find everything that I come up with. I am currently working on the Legend collection, which will include updated versions of the models that I am truly proud of.

- From the very beginning I was a DJ, so music has become an important part of our collections and our shows. I love DJing, it helps to read the energy of the audience. If people are bored, I can wake them up and make them pay attention to some details of the clothes. That was exactly how it was in January in Paris, everyone was having fun.

- As for the show in New York, it was a manifestation of the political side of fashion. We are still involved in such situations, even if they do not directly concern us. I feel responsible for the suffering of others. I don't want to be submissive. The collection itself is not only about politics, but also about the collapse of ideas, destruction of forms, deconstruction. I invited Slava Mogutin to my show because I know him and I identify myself with him. He is so active politically, he is a feminist, homosexual … It was comfortable to work with him. Dedicating the collection to migration issues, we wanted to wrap the models with luggage tape as if they were luggage. We had enough time, so everything worked out well.

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