A Quote by Narciso Rodriguez
Because I'm so hands on here at work and always looking at fabrics you have to be mobile and as comfortable as possible.
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With Whitney Eve, I really wanted to dress everyday girls. I wanted it to be a more sophisticated than just casualwear, but be comfortable at the same time. All the fabrics are easy fabrics, they can be dressed up or dressed down.
I am constantly looking to push boundaries with materials, bring in new weights, and work in fabrics unexpectedly.
I'm quite tactile, so I like fabrics that feel good. I try to avoid fabrics that crease - especially with my son. When you have a child, that's important. A great pair of a jeans, a t-shirt and some loafers, that's what I always wear.
I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.
I just try to be true to myself and look the way that I'm comfortable looking. Because if I'm comfortable with me, then you're going to be comfortable with me as well.
I loved the idea that people dressed up to go to the gardens. Our work always has a utility point of view at its heartbeat and then other things come around it, so it really allowed us to use denims and suedes and gauzes, and those sorts of hard-working fabrics - workwear fabrics - and then contrast them with crepe de chine, beautiful florals and big jewelry.
You know, you take a little infant and you turn on the music mobile on their crib and you find that if you give them a music mobile which turns on automatically versus a music mobile in which - if by chance their little legs or their little hands accidentally touches it - turns on they're so much more excited if by chance it turns on because they touched it, so that desire for control over their environment is... really appears from very early on and if you look at children's first words, "no, yes."
Design is a series of creative choices - it's a collaborative effort, an evolutionary process. You choose your fabrics depending upon what you want to say, then you work with mills to get those fabrics. Through the process, you realize what you want it to be.
I am always trying to find fabrics that are more friendly to the environment - working with Virgin Atlantic, they managed to research into this and find more eco fabrics.
You know how some people are upwardly mobile? I'm sort of downwardly mobile in the publishing world, because of my sales figures and also because of the kind of books I write. Everything really counts on sales. I started out with a bigger press, my first few books. But I've always done some things with independent and small presses and small magazines and I always will.
When I work with new girls, I talk their ear off and try to make them as comfortable as possible because I remember what it was like when I first started.
I started to work with cotton fabrics. I used cotton because it's easy to work with, to wash, to take care of, to wear if it's warm or cold. It's great. That was the start.
I'm not brassed off, it's just it's the association of the Dalek question, this mechanical mobile object, I'm beginning to find it distracting. And they were difficult to play to, because you're not looking into human eyes. You're looking at a metal object, moving about, with a voiceover.
My hands are full. I am a workaholic. So, I am always looking for work.
Beautiful fabrics last; synthetics don't. Certain fabrics, such as linen or cotton, develop their own character over time.
You can experience play at work, not because you're messing around or wasting time or something, but because you're looking really deeply and seriously at things and asking what is possible, what can be done with them, what new ideas might emerge?
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