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And when they say no idea or project is too complicated, they really do mean it. “We consider embroidery like drawing,” adds Park. “You can come in with anything and give it your touch. We will not talk you out of getting your number embroidered on the inside of your jacket or flames on your butt.” As a result, a community has sprung up around the store—locals in the neighborhood and young eccentrics interested in sustainability who keep coming back for one-of-a-kind repairs. “People in the neighborhood come first with a simple repair and by the third time they are lining their jacket with their childhood T-shirts,” says Park. “The store is supposed to be a friendly place where you can do the unconventional and seemingly difficult in an easy environment.”

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Olivier Rousteing is sitting in a makeshift greenroom, talking with a group of business founders trying to reimagine the future of France. “There have been so many projects on my waiting list, and now finally we can make them happen,” he says, eyes wide. He is dressed, as usual, in black: black coat, black trousers, and, on his feet, clogs like black lapdogs, covered with faux fur. His fingers are shielded in long golden rings, giving his hands a mechanical fascination: half bling, half armor. When an attendant leads him to the stage wing, he leans against the wall and scrolls through Instagram. Rousteing became creative director of Balmain in 2011, at 25, and since then has consolidated the house’s power by courting the gaze of an extremely online demographic. He’s the chief force driving high Paris fashion from its old cloture, and—with some controversy—through a teeming, buzzy, digitally shaped new world.