There's something about filling big shoes that Antonio Marras, the creative director of fashion brand Kenzo, knows all two well. Six years ago, the Sardinian designer, who refuses to leave his hometown for Paris where his company is based, took on an iconic brand and the challenge of keeping its unique heritage alive.
Founded by Japanese designer Kenzo Takada, who sold the brand to French luxury conglomerate Moët Hennessy Louis Vuitton (LVMH) in 1993, Kenzo was one of the first labels to fuse Eastern mysticism and Western aesthetics — a tradition Marras has been entrusted to uphold.
And he's done it with great critical success, as was evident at Paris' spring 2011 ready-to-wear fashion week earlier this month. The event also marked a milestone for the brand as it celebrates 40 years.
Marras, who was recently in Dubai, spoke with tabloid! about his inspirations, his home, family and what he would like Kenzo to stand for from now.
Kenzo celebrated its 40th anniversary recently. How has the journey been for you the last six years?
It has been an amazing journey — like a world tour full of discoveries and exciting ideas. The more you get to know this brand, the more you discover its richness and its inspirational power. It is a great experience for any designer.
One of the brand's core philosophy is its bridging of cultures and mixing of influences. How have you taken this forward during your tenure?
I love this unique message that sets Kenzo apart from other brands. I never depart from it, but use it as a starting point to renew the brand.
Identity and DNA are core. When the roots are alive the tree can grow and renew itself. I want to preserve this spirit. It does not mean that the collections will look the same. It just means that I am translating the same message into more contemporary silhouettes. I still want to give Kenzo customers escape, dream and freedom — but my way.
How much of Sardinia do you bring to the brand?
My origins inform my design, but not directly. My homeland is an crossover of cultures where populations have come over the centuries and left their traces. The result is an extremely complex, rich and stratified tradition made of hybrid influences. That is a wonderful background when I design for Kenzo.
Why are you still based in Sardinia? Wouldn't it be easier to move to Paris?
It would! But I think a designer must keep his soul intact in a way. I chose Sardinia to be faithful to what I truly am. I have my wife and kids there and my private life and my creative work are the passions of my life. So it seemed like a natural choice to keep them together.
Do you think lines are blurring between haute couture and prêt-a-porter? If yes, why do you think this is happening?
I think codes are mixing more and more at all levels — this is just a reflex of what is going on with social networks and the internet. At Kenzo, I often mix couture embroideries and pieces with more everyday daywear. I think this is also part of what Kenzo is: cross paths, mixed worlds create unexpected beauty.
There were a lot of tribal references in your last ready-to-wear presentation. Can you explain why?
Kenzo is about journey and discovery. For the latest collection I mixed the Japanese aesthetics with Sardinian traditions. It creates an ethnic melting pot where I try to combine these two inspirations that might seem opposites at first sight. But that is where I believe beauty lies — where you do not expect to find it and... There it is! My work is to take out beauty from opposites.
What is your opinion of the Middle Eastern market?
I am discovering it as we speak, this is day one in the Middle East for me! The Dubai Mall was the first place I was taken to this morning and I am still checking out stores. I'll reserve my opinion till I take a closer look.
Have you ever looked to Arabia for inspiration?
I designed two collections inspired by the desert where I mixed a Parisian wardrobe with an Arabian-inspiration. I believe that inspiration is everywhere and your culture — being so rich — is a wonderful world to look at for every designer.
How much of Kenzo Takada is in each of the collections you have overseen over the past few years?
I try to keep his message alive in every collection. Everything is about his heritage and message.
In your opinion, how different is Kenzo now than in Takada's time?
I think the only difference is in the interpretation of it. The story is the same, but you know in the end it is not just the story that matters but the way you tell it. I am the new storyteller.
What is your opinion of the menswear market?
I think it is more and more interesting. Men are still very conservative but, unlike women, they are often more faithful to their favourite brands.
My aim is to make a classical silhouette with some special touch. You have to give men some added value: details, a special mix of fabrics, some utility ideas and great shapes. On top of that, we are trying to give colours, prints and a creativity too.
Do you use the same philosophy for menswear and womenswear? How?
I use the same themes for all the lines at Kenzo. Womens, mens, kids, accessories and homelines: all sing the same music. But even if the inspirations are the same, the interpretations might be original and different.
Do you think men are becoming more experimental?
Only a bit! But they often have taste so often when they dare, the result is nice.
Where would you like to take Kenzo next?
I think there is definitely a place for Kenzo that has his unique language and philosophy in the future. I want to take it where it belongs — with its integral spirit — in a new interpretation that would be both mine and relevant.
Are prints and patterns forever?
Yes. More than shapes or colours. You just need to know how to dose them and associate them. They make the difference in a man's silhouette when one knows how to use. It proves you have taste, discernment and a style that is your own.
Can you tell us the five things you cannot live without?
My design, my wife, my kids, cinema and... Sardinia.
