What I wanted to do is have a dress that's been worn by quite a few celebrities ... I wanted it to be worn by a man. It looks like it's transformed on the body and looks really powerful and majestic. There's always drama there, to some extent, and I always need that in my clothes ... something I want to explore further with dance and movement and fluidity.
There was a dress that I wanted to go round and round like a spinning top, basically, or like a whirling dervish, but not in a very traditional sort of way.
It's been a bit of an add-in really, Quite a lot outfits to down and bring out the black little dress story, the white story ... silhouettes. So it's really a bit of a journey of my work, not necessarily a retrospective, but the best pieces of my work over the four and half years ... highlights to some extent.
Everyone's done silhouettes in black or dramatic silhouette, but I've just focussed on structure. The audience is in fact a very tough audience and I put a little bit of accents in gold in there to make it a little bit richer.
A little of a Hollywood actress from the 50s or the 30s and a mix of elements of ethnicity, from tribal Burmese costume to the sari to the kimono. So it's like a fusion of different things - it's always very clean and very pared down.
I used to name them, like Cosmic Moghul, Renaissance, Tribal Bauhaus ... not necessarily literal, but I started becoming a bit more sophisticated and started calling them 'Collection 9 and 10'. So it's a lot more easy than trying to think of names for it each season.
Quite amazing actually to be here - it's taken a while ... I suppose ... it hasn't taken a while because my own line has ony been in existence for about four and a half years. It's an amazing place for me. I don't live too far away from it, I come here quite often - it's a treasure trove - it's a national treasure.
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