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JG That's Jacquetta.
CM Those are trainers aren't they, I just love that.
JG That's my baseball cap she's wearing there.
CM It's your cap is it?
JG Yeah. Going with Jacquetta's personality and how she was feeling that day, and the fantastic embroidery, that was from the collection (shown at) Château de Versailles (Matrix), inspired by Persian miniatures. That's the way we showed it on the runway, this is how it's been reinterpreted for someone like Jacquetta to wear today. Yeah, initially that was Persian miniatures, and that was embroidered...
CM It has that sort of delicacy doesn't it?
JG Very fine beads.
CM That must be an enormous amount of work.
JG Yeah, that was amazing workmanship (on) that one. Beautiful. Because you know like when you've cut those pieces as well, what I forgot to say earlier, and those pattern shapes have been thread-marked and it's all on the bias. So it kind of moves everywhere the fabric, it's just moving constantly. That then has to be re-attached onto a frame before a beader can even start to bead, the grain has to be meticulously reproduced again on this frame so that the bead... you know when the whole thing comes off it even, and moves with the fabric.
CM It still works and moves the way it has to. I think it's almost, not mathematical, but it's almost scientific in a way, there's a lot of serious science thinking behind it to make it...
JG Of the ateliers, absolutely, and you know shapes.
CM Because I think people don't normally realise.
JG Because you can create a shape, I mean we can bang together a shape like that, but when you see the haute couture ateliers do it and it and moves like a cloud and it's so light, the volume is exactly what you want. Bill and I can knock it up and get an effect but you couldn't just glide down the runway. They know how to do it, where to put the tool underneath the skirt to create that volume, and what's the best fabric, how the crin's laid on to make that skirt flare out, I mean it's techniques, it's amazing.
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