Vogue: DSM is shaped by multiple voices rather than a single author. How do each of you understand your own role within this collaborative structure, and what makes that shared approach function effectively instead of becoming chaotic?
Adrian: We just wing it really and go with the chaos.
Dickon: It is about giving space and giving freedom to the people that we work with: our trust and our belief in what they do. Sometimes, it is harmonious and serendipitous; other times, there is collision and chaos. All of this is OK as far as we are concerned — DSM is about ‘beautiful chaos’ ultimately.
Remo: One beautiful thing about our company is that we have very loyal staff — all of us here have worked together for many years, and I feel that our way of working together has evolved quite organically. We have quite complementary skill sets and rely on each other’s respective strengths and weaknesses. That said, at the end of the day, when chaos reigns, Kawakubo-san and Adrian decide anyways.
Yo: Under the big umbrella of Comme des Garçons, I’ve been learning a lot every day at both CDG and DSM… We strive to bring things as close as possible to the company’s vision. For example, even proposals from other brands are adapted to align with our sensibilities, adding our spices.
Vogue: Kawakubo’s conceptual language sits at the heart of DSM, yet each store has its own character and rhythm. How do you translate and interpret her ideas within the context of your own location?
Adrian: We’ve always tried to find that balance between centralization and decentralization, keeping well instilled within each place a strong sense of our shared identity and values while encouraging local character and individual leadership.
Dickon: It takes a little time for each DSM to establish its roots, and to connect with the local community in each location. London was, of course, the first store that we opened back in 2004, and working with Kawakubo-san and Adrian and the subsequent transformation and journey after the opening was something very special and very humbling. What mattered most to Kawakubo was the creation of something special. Something new. And this was the same for everyone involved in the project, which included the likes of Alber Elbaz, Azzedine Alaia and Carla Sozzani, Raf Simons, Hedi Slimane, Ronnie Newhouse and Judy Blame. There was a powerful and intoxicating sense of flow. A sense of like-mindedness. Capital and operating expenditure weren’t the very start of the conversation, which is sadly often the case today. Creation was first and foremost, with a sense of daring and freedom of expression in following Kawakubo’s vision.
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