What would you like us to know about the collection?
I wanted to go back to the beginning because it’s the first show. It’s going back to the source and why. I have an unconventional background — I didn’t go up the ranks of major fashion houses, I didn’t go to fashion school — I come from the world of cinema and film. It made sense that, for presenting for the first time, I would go back to the how and the why of it all. When I started back in 2011, it was a different time in fashion and in the world! It’s kind of crazy to think that in such a short period of time, everything’s changed, but some things remain the same, and what stood out for me was why I started the brand. It came down to that time when I had put my finger on a sort of white space and connected with what I was feeling as a woman; what I wanted in my wardrobe; what I aspired to become; what I admired. When I was designing the collection, it was about some pretty basic desires of wanting great wardrobing, clothes that fit well, that are well-constructed in great fabrics that define what women want to wear today — what they need.
What distinguishes the CO woman?
It’s about creating a distinction for a woman in her wardrobe. It has an ease and practicality of what she actually needs. The distinction comes from the silhouettes, the shapes, the feel of the fabric. I went back to a trapeze poplin shirt that I did in the beginning, styled with a very simple black pant. It’s a white shirt but how do we make it distinctive and make this woman feel like she stands out? There’s a lot of cashmere and beautiful flannels, visible fusing in contrasting colours. That trapeze shape is also in coats, shirts, dresses. It adds a little bit of drama. It’s special, you know. This woman doesn’t look like everyone else.
How has CO evolved in the 15 years since you started?
It used to be a lot simpler in the beginning. Now, there’s more detailing and the construction is more thoughtful. I’ve learned so much about things like finishings, for example. The team has more experience. You can tell the clothes feel richer. They’re investment pieces. But while I say investment pieces, they obviously still remain at a price point that’s not contemporary, but more accessible than most luxury brands, which has always been really important to me. Back in 2011, people did not want to talk to me about price points. Fashion people hate talking about price point because it feels so commercial, like the antithesis of what we should be discussing. But we are in a business and the price point is a reflection of our values. It’s a really important aspect of what we do and to me, being aware of our price point is being aware of our woman and who she is: she is not a frivolous person.
How does it feel to join the official calendar?
I feel vulnerable, I feel excited. But putting yourself in a vulnerable position is always a great instigator and trigger for creativity. It took a long time to get here and get to a place where I feel like I want to put myself in the room with an audience. It’s great that I feel excited about it. It marks an evolution for the brand and for me, personally. It’s taking a risk and it’s really important to evolve creatively and push the brand forward. A brand can’t stay stagnant today; it has to move forward. It’s alive.
This interview has been lightly edited.
