I think if you can create a meaningful thing that is also an advertisement that's a pretty cool option for brands.
I first met the brand [Didier Dubot] when I went to an event for them on Top of The Standard. It was about three years ago. It was the first time I heard about them and then that's where I met them.
We do our universities a disservice when we brand them as a lost cause. There are some frightfully honest students out there, and when their questions are respectfully dealt with, many admit their vulnerability.
I think that the Kehinde Wiley brand is something that I'm working towards expanding and to inclusion.
I'd like to walk that fine line between the authentic artist self and the manufactured artist self. I'd like to exist outside of a set of expectations or assumptions about what the Kehinde Wiley brand is. And I'd like to walk towards something that's a bit more unpredictable, human.
There are brands out there, plus-size brands, that all they want to do is sell their clothes and be done.
We can be the new brand of self-extincting dinosaurs or we can evolve.
I have certain standards for myself so if something drops beneath that standard or if the opportunity doesn't fit who I am authentically at my core - I don't invest time where my brand isn't respected or where what I have to offer isn't appreciated.
When I moved to New York, obviously I work with a lot of high fashion brands and I get to wear insane, totally crazy bags and all this crazy stuff but still, I'll always go back to my original sense of style.
I dont think theres anything positive in the WCW brand at all. It was dead when they brought it. They were going to bury us when they did business.
You see where the fighter jets are so old that they can't get parts anymore. They have to go to plane - airplane graveyards and museums to get parts for our fighter jets that we're currently using. They don't make the parts. And you have other countries that have brand new equipment. And in some cases, we sell them the equipment. The whole thing is ridiculous.
I think because I do model for brands but it's never without input, ever. With AG I front their campaign, and obviously designed the collection for them. I did the same back in the day with Madewell. Even with Longchamp, there's a certain amount of collaboration on deciding on photographers and stuff like that. It's something that I'm accustomed to doing behind the scenes.
I actually found out about Ugg on a trip to Australia, which I guess is where they were born themselves. Everyone was wearing them there, kind of slightly ahead of when they caught on globally. This was in 2002 or so. Just after I left sixth form I was modeling and my best mate was Australian so I went over there to visit her. That was my introduction to the brand.
There are very, very few brands that will be brave enough to really, completely take a step back and not to try and control what is considered beautiful.
That might be the old model: to get a fixed fee. You have to start to think about other models and how they can generate interest - what it can do for a brand in the future - and about the fact that revenue can also be generated in many other ways... Just look at the one and a half million people at the free Rolling Stones concert in Cuba. And Cuba is not Central Park! So just use your imagination as to what kind of revenue can be made.
Formula One gives a platform to companies like Rolex - and that's just in media space, watching television or reading newspapers, digital or physical. You see the brand in the context of the competition and bring it to the attention of everybody on a regular basis.
As a Mark brand ambassador, I became extremely cognizant of the devastating statistics about dating abuse and partner violence via the mPowerment campaign and knew I wanted to help change those statistics. mPowerment by Mark and the Avon Foundation for Women funded the No More study, which explored dating abuse, partner violence, and sexual assault. I was honored to be part of it and report the results of the survey in a Capitol Hill briefing.
Nowadays, [young musicians] are so quick to be like, "OK, fine, I'll take the cheque, or I'll get the stamp from XYZ, and I'm expanding my brand," rather than thinking, "I'm part of this space over here, and in order for it to grow, you can't have it assimilated by this bigger bubble or corporate brand."
We know that those huge U.S. brands do have political sway.
You look at all the sporting companies out there. I won't name names, but we know who they are. Good brands and logos and things like that, and they have to start catering to real women. Even in how their sports apparel is designed, and the commercials - you want to look at a commercial and see yourself.
I doubted my creative spirit three years ago and God showed me a way to praise Him through song. It opened the door to a whole tapestry of images and concepts that were brand new for me and I continued on that path.
It [Doral] is 800 acres in the middle of Miami. If you look at the ballroom, that was brand-new ballroom that didn`t exist. And it`s, you know, one of the great places on earth. We had a construction crew here of 1,600 people. We rebuilt the whole place in about 14 months. We did it under budget, although I did increase the scope of the work, because we decided to use the finest marbles.
At Hermès I learned, maybe more than anywhere else, how to work around a legacy, and how to integrate a strong brand culture into my work. Also, to work with a completely different projection system and craftsmanship.
Even in the good sportswear, streetwear brands, you can't find that quality.
I don't care about the brand. I care about the country.
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