MASTER OF FASHION DVD:3

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PARIS

I once said to an American reporter, 'You like going to Saville Row and you get suits made, what do you think of them?' He pondered for a while and he said 'Well if I get three suits made, one will be absolutely outstanding, marvellous and I'll wear it very often. Another one is probably a suit I like, I'll wear it now and then but the third one he says, is probably for one reason or another, I am not very fond of'. It can be irregular depending on the day which the tailor cut it, if he had he gone to bed earlier the previous day or was in an inspired mood when he made the suit. Each suit is unique and individual.

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LONDON

I joined Richard [Tyler] before he stated consulting with Anne Klein - so it was in the early days. He really started in a tiny little store in Los Angeles doing custom clothes and before that he was doing clothes for rock stars, like Rod Stewart, Ossie Osborn - his background was very theatrical and there is nothing more theatrical than Rock.

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NEW YORK

I had been discovered at a craft fair by a very prominent gallery owner - Mrs. Joan Sonovan And 'Sculpture to Wear' was really the thing that turned it all on for me. It was jewellery by very famous artists, that most people don't even know about - Picasso, Man Ray, Arp, Max Ernst, all the great ones, Brach, Miro they all did some kind of jewellery, and in that jewellery everything about that artist came forward. So I said to myself 'Oh my God this who I am, this is what I want to do and I am not famous for anything else yet, but I want to use jewellery as my primary medium of art'.

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PARIS

My husband Henri Courreges was working 11 years at Balenciaga. One day he decided it was time to branch out. He made an analysis of the world of Haute Couture from 1955 to 1960 and proposed to Balenciaga a change of vision for the whole of couture. Couture needed to evolve . At this time Balenciaga did not really understand these ideas because they were very new, and it was a new generation so he gave Henri the permission to go and explore his ideas on his own.

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LONDON

There is an excentricity about English people - there is a cultural sort of roll up the sleeves kind of feeling about it. I'll do it myself, kind of cottage industry thing which depending on how it is nurtured, goes into artisan or becomes a very creative, specific talent. But as soon as it becomes commerical we are out of it. We get hand picked because essentially if it is too difficulty for someone else to do it - we want to do it.

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MILAN

You can dress in London for a couple of hundred quid and look amazing and with your last 50 quid buy yourself a drink. In Italy, there are two kind of looks. There is a very kinda classic Max Mara and then you have Donatella Versace's with the blonde hair and all the business.

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NEW YORK

The American lifestyle sort of demands a certain sort of clothing and it is just our sensiblity. We are very mobile and very relaxed and the whole world is becoming more like that. If it looks comfortable, it is usually not very sexy, so it has to be also a balance between those elements as well.

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LONDON

The arrogance of youth is the greatest gift that you can be given and I am sure that I would not take the risks today, with the wisdom that I have today of what I did when I was an abnoxious precocious 19 year old. A lot of my contemporaries who went to work in Milan, Paris, New York will never have their own label because they just can't take that step. They are too wise.

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NEW YORK

It has been a journey to say the least because we really don't have a tradition in this country of people using their hands and making that their livelihood. So I have had to find people where I could and have had to train some of them and almost everyone you know that I have in my manufacturing plant has been trained in-house.

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NEW YORK

In 1976 I remember being down on 7th Avenue and looking up at the skyscrapers and thinking how do I get in. I had never really had a real job in the fashion industry and there are unwritten rules that I did not know - this was hippy times and I remember coming to work in hiking boots with a rag wrapped around my head and I don't want to tell you the name of the company but it is a very respectable company still working and it was like "Oh my God" ...

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PARIS

The potential today for a "small" luxury company is larger because the large luxury conglomerates have extended the taste of the people. If you are a creator and you give to the people something attractive and someting that they really love, they will buy and you will be a success.

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PARIS

Real talent is a mix. It has very much to do with who they are inside. Do they have a very strong nature. Can they take a terrible risk, can they take a terrible failure. Can they accept that the major lady on earth who may be the one who writes in Herald Tribune decides your collection is very poor, and what happens in your house because you did not make it that time. Can you live without a lot of money? Can you wait for things to come to you? Can you be patient? Not selling your name partly or completely. It is as important as talent.

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