HORU February 4, 2016

"From a very young age, I've always been interested in flashy and colorful, or sometimes traditionally more effeminate or androgynous things. When I saw pictures of men not necessarily distinctly crossdressing but mixing elements, and women wearing elements of men's fashion, that never came off to me as rebellious. It just looked like the truth. When I looked at it, I had this very defined, unquestionable sense that what was atypical was somehow more logical. And that arose in unison with a color and shape sensibility that was kind of my own. It wasn't really a response to fashion, or to other people, or to trends, or to anything. I can't lie and say I'm not heavily inspired by early surrealism as well as dandyism of the late 1800's. But there are a lot of people who think that style and art has to be more of a combination of things and that there's no getting better at anything without critique from as many people as possible. For me, I honestly feel devalued if I receive too much critique from other people. And a lot of people say, 'I get better at everything when I'm critiqued. I need somebody to tell me what I'm doing right, and what I'm doing wrong.' But in that case, you forget that you're capable of doing anything yourself when your style and technique is chalked up to what a bunch of other people told you to do. I feel like that's kind of the antithesis of self-love; getting everything you love about yourself from somebody else. So I try to make my clothing as little of a response and as much of a singularity as possible. And I like to try to keep it that way."

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