MASTER OF FASHION DVD:2

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SYDNEY

Traditionally Japanese clothes are shapeless - it is called Kimono. It is based on a square format as far as construction is concerned. Also there is a relationship between the fabric and the body - the space between fabric and body. When the fabric moves, it animates and generates a spontaneous design. My idea of covering is seductive. When you hide things - something unseen, which makes you feel like you want to see it - for me that is more desirable than actually showing everything.

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NEW YORK

Judith made beautiful products, and they lasted. She would go on a public appearance and a woman would come and say, Mrs. Leiber I bought this fifteen years ago, see how great it is. And she would says"It is time you bought another one!" Judith started making handbags on her own in 1963. She became a GI bride, came to the United States after the war and worked for the most prestigious Handbag Company at the time, which was Nettie Rosenstein. In fact Judith made Mamie Eisenhower's inaugural bag, with the Nettie Rosenstein label. Eventually she got tired of working for other people and in 1963 she hung out her own shingle.

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MUNICH

As a ski racer I was always quite furious when they would say 'well you are only a sportsman' and 'sportsmen don't think'. So I was fighting this labeling from the very beginning. Sport was a big way to learn because you learn how to loose. My most famous sports achievement or non-achievement was in the Olympic in Squaw Valley where I was leading by a second and I had to just basically come down and I fell, and it was a disaster. It is typical of sport, one moment you are champion and the next you are nothing and to be able to deal with that is a great lesson.

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PARIS

Mahlia was a fabulous person, a genius of creation and in fact she showed me when we visited the company the museum with 50,000 fabrics representing the creative work of the last 50 years. This museum is the only one in the world. I mean Tom Ford came here to Paris and visited our museum to look at the old fabrics in order to create new ones. You know it is fabulous. Mr Lagerfeld comes very often, Jean Paul Gaultier lives next door.

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MILAN

An artist in a certain way can work when he has a feeling, fashion designers every day you have to show your collection, every day you have appointment with your customers and you cannot leave the market and wait and say o.k. for 6 months I stay out and then I come back. You cannot do this, so really it is very important to be also an entrepreneur.

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NEW YORK

I discovered people like Balenciaga, Charles James and Madam Gray, these are the three tools that I used in my career to propel me. I studied their work voraciously and then, you are talking about the mid 70's, there was a man in fashion that took those three designers and made them real and literally overnight revolutionised fashion, simplified it - and his name was Halston. So I came to New York to work at Halston .

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PARIS

Today, I think customers are looking for design, brand name but they are not aware what makes the quality of a leather product. I remember 20 years ago that customers knew better than I did. I learnt my job with my customers. They knew perfectly well all the different types and qualities of leather, of stitching, of inside lining. Their requirements were incredible.

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LONDON

I wrote a letter to McQueen and showed my portfolio, he said to me "When do you want to start?" I said "I'll start tomorrow". Literally the next day, I was on the same shift, 15 hours a day.

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MADRID

I never had drastic changes in my designs. My collections evolve like my life - one step ahead from the previous one. Every new concept is the result of finessing previous ideas. I was offered to go and design in America but decided against it. Staying in Spain, whilst compromising my financial rewards, allowed me to investigate, and innovate, something the American industry would probably not have allowed me to do.

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PARIS

You have to make dreams with truth, and what does truth mean, it means that all the effort that you put in one product you have to see it, otherwise the public will never pay the money that you are asking for.

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PARIS

My third signature collection is Maori quilting. All these things look extremely delicate and very artistic and look as if they should be in museums but in fact they're indestructible. The most inportant thing is that you step off a bus or an aeroplane looking perfect and that whatever you pack requires no maintenance.

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PARIS

There was always glamour in American fashion . It was always something simple and sleek and it was always poo-pooed by the Europeans, because it was seen, and in fact to some extent it was true, that they made a necessity out their manufacturing capabilities. They made an art of it, because their manufacturing was quite poor.

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