Nate Brown: Whenever I do an interview, I always like to start with this question: What draws you to speak to me?

Thom Bettridge: First of all, I’d really like to define with you what a “creative director” actually is. 

It’s funny, a lot of people want to know that, including many creative directors. If you speak to an architect or if you speak to an artist, they’re obviously going to give you a different definition of their working capacity. 


Then maybe it’s better to talk specifics. One thing you work on is fashion presentations. Fashion shows used to be very specific industry experiences, but now they have become pop-cultural experiences. Why?

When I approach something like that, I try to take it down to the most Dr. Seuss level of what the thing is—strip all the intellect from it, try to make it as simple as possible, and then build from there. Everyone now looks at fashion. Some of those people might be there in person, some online, and some via Instagram. Some will be on Snapchat and Facebook live. Whatever the medium of delivery is, you’re basically building a multi-sensory experience. Clothes are a part of it, but they’re a small percentage of it now, right? For instance, the Yeezy show last season was the ultimate field trip out to the middle of nowhere to see someone’s clothes. It was a full-blown spectacle—and I’m not going to comment on whether that was right or wrong—it was just the epitome of a fashion show as a cultural experience in 2016.


Concerts also create an in-person experience that can somehow cause a rupture with our everyday virtual experiences. I’m wondering what kind of strategies there are for creating an aura in that way?

That’s always fun for me, you have so many senses you can engage. We try to reverse engineer that. What do you have that people can ingest? You have music. You have visuals. You even have scent, if you want it. As a creative director the sky is not the limit, and I like that. I like working within a tangible canvas. That’s anything from budget, to space, to the opening act, to the whole tour. There are so many different parameters you have to work within, and those parameters automatically ground you from thinking too high up. Before we thought about doing a Bonnie and Clyde story for Beyonce, we were thinking about what the stage representation would be so that people can have a more deeply ingrained experience. Historically, it’s a crowd of stage and screens, but the Kanye show—with him on stage hanging close to the ceiling—was a great example of what we do. It screwed up the VIP vs. General Admission experience. At the cheapest ticket price, you were the closest you could be at the show. That’s never happened before.