I don't want to dumb anything down, and I think people appreciate that. Even if it's not their cup of tea.
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My thing has always been that the clothing we make is kind of like music. There are always critics that don't understand that young people can be into Bob Dylan but also into the Wu-Tang Clan and Coltrane and Social Distortion.
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I came over here with $100; it was 1983 and I just ended up staying. New York at that time was very inexpensive and it was very easy to get a job. We lived on Staten Island and you could get cheap rent. It was a good time to be in New York.
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Any brand in the world wants to make desirable product. But we don't shove it down people's throats.
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I don't really care what a designer has to say.
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The skateboarders are snobbier - their look is much cleaner than ravers'.
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I've seen a lot of brands fail because they went, 'Hey, look, we're from New York, and that's what we're all about.' But wherever you go, people are proud of where they are. So even though we're from New York, what we do is a mindset: it's got to work in Japan, in Los Angeles, London, wherever.
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A lot of people dismiss what we do. They think, 'Well, it's skate, so it's got to be, like, big baggy pants, cap backwards, big chain'... They don't understand that just because skating is the culture we're working in, it doesn't mean that we can't make good things.
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People should know that the idea of legal fakes is a complete farce. It would be sad if a new generation thinks that's actually legit.
