In Fashion: Molly Goddard interview, uncut footage

well if it had welcome to share studio first question I read in a past interview that you've done is he said my least favorite things a prim proper and pretty which in a way I think people would be surprised by because I think a lazy journalist would perhaps describe your work as prim proper and pretty how would you describe your work oh that's I probably I don't know if I'm probably did say that by and I do kind of think that I don't know about I do like pretty I suppose I it's more the kind of associations with everything else that you kind of get the minute you do something pink and frilly you get it it turns into something that is prim and proper and I'm not very prim and proper so I suppose that's my kind of that's what I don't like about that but what did you say how would I describe my case there is something very pretty about them and I like that I think the main thing for me is that they've got a lot of craft and kind of time and energy has gone into the making of them and there but I would say it's more kind of about fun they're quite fun fun to wear yes I I think there's a sense of when you wear one of your pieces or when you see one of your shades it's like it feels like the models wearing a sensation rather than wearing a garment like it's about feeling rather the piece would you say that's correct yeah I think we the casting for me is very important so we I mean the process of casting is more I mean like I went with my sister Alice and we use girls that we've we know quite well you guys we've known before girls that are friends and not necessarily professional models and so like you get to know them and what they feel comfortable wearing and so a lot of it for me is I don't want someone to turn up the night before the show and throw something on that they kind of don't have any relationship with they're quite like the girls to kind of get excited about what they're wearing and I really enjoy that process so yeah like it's about them liking what they've got on and interacting with it in some way I suppose yeah and talk to me a bit about the silhouette because you're creative a very defined shape and in it's it's somewhere between like sometimes it's almost quite Infanta quite childlike it looks like children's clothing in a way but then there is an element to it which as you say is quite almost historical and it could be you know like riffing off a piece of historical dress but I think it's definitely it's also a silhouette which is quite bold in the sense of it really doesn't sort of comply to ideas of the female form and how the body should be flattered you know like waist hips it is there something quite deliberate about that silhouette would you say it's in any way sort of you know making a comment on how women are usually dressed or how did it where did it come from because it is very defined yeah I mean it actually started and like we've talked about the baby cows I did my BA collection I found my baby dresses and I blew them up on a photocopier and then traced off the pattern so they kind of had these sleeve heads that were you know enormous weird proportions and that was kind of how that started I suppose that silhouette I I suppose I think about what I feel comfortable wearing and I don't feel particular comfortable and wearing kind of things that like a skin-tight I like to be able to like move around and I find that I always find I feel much more comfortable in loose loose-fitting clothes so kind of really big big pieces I guess yeah I don't know that I think I like with silhouettes as well I like when things are too big or too small and you don't really get that when things are kind of bodycon I suppose yeah it's interesting cuz we're kind of sitting here talking about all of this well this like storm is going on about like treatment of women in the fashion industry sort of off the back of treatment of women in in the film industry and it's just there's a lot of sort of tired clichés about women designing for women and all of that but I'm interested just kind of as that rolls on around us like what does it feel like to be a young female designer in this industry at this time and do you feel like you're sort of fighting against it sort of expected expectations or stereotypes or if you found it to be a very positive experience or you know how you what's it like being young and female right now in fashion [Music] I think I've I think I've been very lucky I think I've like never had I've kind of I don't think I've faced many challenges in terms of kind of in terms of that and I and I suppose in terms of kind of being like a businesswoman in fashion I think what was I gonna say I big question is a big question it's hard to know kind of which do you feel good to go on I can't read what I was gonna say I was gonna say something about I suppose for me it's like fashion is so fast and there's so much of it and it is so about kind of like people being having kind of unachievable goals of being like perfect and beautiful and stunning and I think I don't ever really want to create that kind of perfection I think for me it's more about really having fun and like getting to know people and I know that sounds a bit corny but I just mean that like the process for me is not necessary about making clothes that kind of make people look totally beautiful is which I mean it is that but also I think it is so much about the process of how how everyone feels during that process and I know that does sound weird but it's not necessarily about the final product it's about like having a good time in the studio with the people I work with and working with like women and making people feel confident and happy rather than kind of trying to achieve this real kind of perfection I suppose I don't know if that's a good enough answer and does that relate to how you sort of want the business to grow like because now what are your hopes for it because sometimes you know we all presume that to be successful in fashion means that you are bought by a big group and you have stores on Mount Street and you do perfume and you know all of that and is that your version of success or do you just sort of want to keep going as you are yeah I don't know I think for me my kind of thing at the moment is that I'd like to have a team of people that really like their jobs and have and have a job that they do and it's just their job because in beginning was so much you know like I did everything and everyone did everything and it was very blurred and very confusing and I think successfully would be tab like a big enough studio to have a good party in and to have like a group of people that I really like working with and and kind of I suppose have the freedoms like do what you want I think there's so many pressures to make these collections that people want to buy and the shops want to buy and I think for me success would be to be able to like to do that comfortably but then to also do the kind of things that no one really wants to buy and like be very creative I suppose sort of touched on the pace of fashion though and do you find it quite relentless sort of that pressure to make more and more in like more seasons and feel like everyone's kind of questioning that at the moment like why do we need four seasons a year all of that but do you feel quite a lot of pressure I do but I quite like the pressure I think I work better under pressure so we did like a pre collection last season because we did a show at the V&A so it kind of coincided with that so it made sense but and I quite liked it because it just gave me that like I work best under pressure so I was saying earlier that at the moment we've got like I've kind of got the freedom now finally to just do my job which I guess it's designing and like making the clothes um and because it's like four months five months ahead the show I kind of flounder I don't you know what to do so I'm trying to like find things that make me have deadlines so I like it and I think also like it does move very fast and there are so many demands but so long as you kind of know when to say no to them I find it it's alright it's yeah it's when you suppose you start doing kind of like loads of exclusives for things and lose track of what it is you're actually doing yeah making work in response to what other people are telling you they want to buy and stuff like that and you don't really yeah yeah I mean that's see that with brands sometimes young designers young brands yeah I think I've probably done that already is a bit as well but I think it's just that's something that the speed or isn't so fun when they say oh we need this and this and this but that's more kind of because it's such a pain in the arse for like my production manager and the factories but but yeah I mean I think the pace of it is quite fun because you can't really I suppose you can't take everything too seriously sometimes you have to sometimes just think oh it's you know it's one show of a million that's happening twice a year four times a year and might just get on with it and do it yeah do you ever feel slightly like that feeling of like shouting into the voyage because obviously there are so many shows and so many Fashion Week's like it's always Fashion Week somewhere you know yeah was going to show and do you ever feel a bit like just one tiny voice and because I think you you said a comment in another interview so it was quite astute where they were talking about you having a sort of specific style and you said it's actually good to have a signature particularly at the moment like this because it is hard to sort of get your voice head when there's so many other young brands and this thirst for the new can be quite stressful how do you sort of cut through all of that noise yeah I think it's very hot I was saying it'd be nice if at Fashion Week there could be like a limit on how many looks people could do and if everyone just could only do twenty looks per show it'd be kind of much better but we just like eight yeah just a little capsule how do I cut through it I suppose I think also what's a bit hard is that once you do one thing people expect me to do that every time and it's a bit boring you kind of think I actually what if I don't want fun do want to do something totally different and so kind of always having to think of another like twist on a show that we do is can be a bit exhausting but I think I don't know it sounds a bit silly but I think so long as you kind of like I have like belief in that one thing that you're doing or even if you really hate it like as long as you've got kind of strong feeling about it then I feel like it's okay to kind of keep keep on going and yeah it's funny cuz when we were chatting backstage it was your most recent show you and I just kind of got a bit bored of - like I just didn't want to do it anymore yeah do you ever have that where you kind of like yeah you sort of have that reaction to your own work you know some designers that say that in this interview series they talk about how like they finished a season and then they hate it and that yeah do you because people I mean you all sort of misses tool it's the same yeah I think I did guess I am bit sick of it though it's like everywhere and but no not sick of it forever I mean I find it the easiest fabric to like have fun with and work with so I like I will carry on with it but I think I think often the shows are very much about that they're kind of a whole like a big project I suppose it's not just about the clothes I always thinking about like how I'm going to present them at the end what the show is going to be like who that woman is that's wearing it or whoever it is that's wearing it and so I think if you think about it like that you kind of what am I saying what I always say I don't know what I'm saying anymore what were we talking about in the beginning we kind of talking about trying to like we kind of went on a bit of a ramble from like about the tool and the tool and like the sense of like moving forward from something and like having a distinct point of view but yeah we'll just sort of develop yeah I suppose what I was going to say was that which I don't know if it's that relevant but that move each show there's always this kind of I have this like end image that I imagine like that person in that setting whatever it may be and so I suppose whatever it is that fits in with that fits and so you know next time it might be everything's chill there's I don't ever really think about too much of that hmm makes sense but I do like to work very last-minute and that's why I'm struggling at the moment because you kind of have too much time and it's always the case with the first thing that I designed and make for a collection I scrapped and it like all changes so but that's part of it I suppose yeah I don't know if that answered it again let's talk let's sort of go back because I'm interested in your early life and you've said that you like always wanted to be a fashion designer like it was it wasn't like there was this you Rica moment where I should do fashion it was that you were always obsessed with your clothes yeah what when you were a child was that the case that you're a very particular about what you wore yeah I think I was yeah I think I was and I think my mom dressed me in kind of quite interesting clothes like either he's like ridiculous smock dresses that she got from a charity shop and I'd wear like two of those or I either look like that or I look like a boy half and a half so I think that's kind of probably what's fed into quite a lot of what I do now maybe but yeah I just used to I used to design lots and you know like it was obsessive kind of like looking at music videos and magazines and I think I learned about I remember quite young and like learning about Galliano and loving everything that he did and then finding out that he went to some Martin's and that Louise taught him and so I kind of think I remember when I was doing my Jesus GCSEs I thought oh I want to do that I want to like do what Galliano did and work with Louise and but never thought I wanted to do my own brand I don't think that was really a thing for me so much I just thought I wanted to work with make make things yeah do you say you're ambitious because we need to talk about things that think it seems that your process that things happen in a very organic quite spontaneous way and with this thing if you know your own labels almost kind of happening and I wonder would use a lot of designers are ambitious you know they want to get someone I want to achieve a certain goal or as it feels like you're much more relaxed in a certain way I don't know I think I probably am I don't know I think I am quite ambitious I think like with the shows we always have a very very limited budget but we kind of like achieve what we want to achieve always I don't really think I don't know if that's ambitious but we kind of I never really settle for like yeah in terms of what we put out there but and I think also to kind of run a business you have to be pretty like because it is a business I suppose and you have to like think about that stuff when I suppose you have to have a certain amount of ambition to do that and like and you have a lot of responsibility because you employ people so I suppose that means you have to kind of push yourself and do a bit more than you feel maybe comfortable doing sometimes yeah so how did the own label sort of I know it kind of began with you doing quite an impromptu show but how did you go from being like oh I probably don't want to do my own label something you didn't think about to suddenly you know having only your own level yeah yeah how did that happen I suppose when I was on the MA you kind of got a bit I think people like it wasn't very cool to say you wanted to do your own label I don't that was it's important yeah how did the lay what how did it all start is looming yeah well it's quite a long story but I did I was on the MA and then I with Louise Wilson and then I took her I was kind of doing really work and I was not really sleeping and very depressed so I I took a year out and I deferred and then I went back a year later and was kind of really excited and excited to show Louise what I'd done and then it was very sad because I she passed away on the Friday and I was going back on the Monday so it kind of you know have all changed in very sad time I think and then went back for a month maybe in with Fabio the new tutor and ended up just like going back to doing terrible stuff and he kind of and no one really knew what I was doing there terrible I was just crap I think I thought that I had to make like he's like I think I thought I had to change everything I'd ever done and like start again and make everything had to be like an angle and like cut it out and you know that year and I'd I wasn't very me I think so I and that's why I realized that's kind of the biggest thing I learned I didn't really learn anything when I was there apart from when I left that so I just should have been doing all the time I think I knew how to do and you did best but what was I saying so then yeah so then I felt you have to pass the first year to get into the second year and I failed so which kind of I think was a relief to me because I knew that I was just I just wasn't having a good time and then so that was in the kind of July I suppose and then in September or in August I was talking to my boyfriend he said you should just do a why don't we just do a party and make some clothes and everyone can wear them and so we did it and I thought I think was so that because I kind of had like years and years of what it been almost three years doing the MA at that or two years I can't figure it out but and I kind of had felt like I had nothing to show for it because I was tearing up all my sketchbooks every night and stuff like that so so I spent like a month at home in my kitchen and sewing dresses and my friends have come over and try them on and then we would and then we rented a little church hall in Mayfair during Fashion Week and had a party and like and people came and we emailed you know some press came and stuff like that and then we got an order from IT Hongkong and Dover Street Market like a week or so after and but I had no studio and no team or anything or like I hadn't even I don't even know if I'd kept the patterns of the dresses I've made I kind of had to like start again and suddenly had these big orders to do so then I spent I think a month I borrowed my mum's spare room which was only about this big and worked from like 8:00 a.m. to midnight every day for a month just making the production pieces which was very stupid because I probably could have got a factory did you have a moment when you're like oh god like this is like a runaway train like do it now I've got my own label do I actually want my own have you ever had that point where you you've been like do I want to do what I'm doing or is it just I think sometimes when you do like a lot of interviews and stuff or like you go for like funny I don't know I suppose there's like certain things that you're like if this is what it's all about this it's kind of in the middle of it it's not this is a nice one I just mean like there's certain things that you kind of have to you're obliged to do in your video god this is but I think no I've never really had that thought it was quite funny I suppose you think that's what's weird you don't have time to think and you don't have time to like oh I'm gonna start a business and I'm gonna start a label and so I need that and that and that and that and this amount of money and all of that you know it just it just started and I think we've just been very lucky the way I kind of where you figured it out I think failures really important because people never talk about failure but actually it seems like failure was really important to you like being bad at something doing something well or like as you say not passing that year yeah yeah yeah and I think yeah you have to do things badly sometimes otherwise you'd never really know what's good anymore I suppose I remember thinking I thought the last collection was two weeks before I thought it was the worst thing in the whole I thought was horrible I hated it and then I changed my mind came round to it but I think you have to have a moment of like you can have a bad season can't you yeah yeah season that people yeah I suppose that scary though because then you have to have the but the buyers have to buy it and you I think also like you know around like it's been like three years now I suppose and I think this is the time where people kind of can get a bit bored of what you're doing and all like I don't know maybe the kind of good luck and the kind of maybe it was all a fluke that's what I kept on thinking but then you you know I think somehow I mean people bought it this season so it's alright it's an interesting point you make there though like I think it's a particular thing in London like you know we love the new designers like that's the story like the young the new and you do see it sometimes where there's like press press press press press and then after about you know five six seasons you're not the new young thing anymore and there can be a bit of a lull yeah is that do you are you worried about that do you feel that sort of and you see it with people who were the hot young thing and then they just drop off the schedule eventually yeah yeah I'm really sad to watch that happen and yes it's so fickle and is that concern for you yeah I think it's quite I think it's unfair weld in a lot of ways because I think people do like hype you all up and then they kind of move on to the next thing but I think we managed fingers crossed to avoid that for the moment by not like saying yes to every opportunity that comes away so I think that's the thing people like asked Lots from you and then if you do it all you kind of lose yeah so what do you do after you've done it yeah and you can't really and you can't maintain that so like I think we said no to like a lot of big shots that wanted to like buy collections or like online shops and stuff like that and I kind of saying no early on it I think has really made meant that we've been able to kind of survive and that grow at our own pace which i think is really important I think you can it can happen so it can happen very fast and just going back to when you were small just talk to me about you know you mentioned that you loved Galliano and what would you say was some of the biggest influences on you because families seems very important to you know obviously you work very closely with your sister who Styles yeah your shows and is that something is that something that has really shaped your aesthetic and like you know you talked about referencing your own clothes like a lot of people a lot of designers talk about and they talk about their inspirations they're quite abstract things whereas it feels that yours are quite close to home yeah yeah I think I'm still figuring it out a bit but I think I think it's a lot to people I may be starting to realize like I never kind of do a collection based on like a painter or flower it's more like the idea of a person and often that person is like someone from my childhood or like something from you know like an adult I looked up to or another kind of world that I never really knew I don't know like it sounds a bit vague and a bit silly but I find it a bit more real in a way than I like kind of imagining other people and what they'd wear and and then relate that to what I want to wear but yeah I think a lot about family I think I did like was lucky and grew up in a kind of very creative house and I think I like the idea I think I like the kind of tradition of like making clothes it wasn't really a big part of my family but I think like my great granny used to knit jumpers for me and stuff like that and my mum always appreciated kind of smoked dresses and things that had kind of a lot of care and attention in them and I think I've kind of taken on yet since we didn't interview the same series with Marylebone recently yeah and I asked him like you know how would you define yourself and he he said I'd like to be thought of as a family man and it was really a note like everyone here's a guy I'm a photographer or I'm as you know whatever like fact I only think about career it's kind of I kind of see similarities between sort of you know him and you like this to hurt sense like a creative household and and making things and that sort of you know sense of community around you and the people around you and that's what's really important and that sort of I mean cozy makes it's how many like and a bit tweet but that kind of feel of yeah keeping things close to you and like work you know working with your sister and think yeah you're it's not very cozy we we kind of argue quite a lot shout each other quite long if you never like is it's I think it's quite weird when someone from like the outside comes into one of our meetings and we kind of like don't really know how to communicate with each other but um but yeah I mean I think it's I think also I think also one of the things that has been quite important thing in like the way we do things is the way I do things I would say we meaning like my team not the Royal way but they what was I saying very resourceful I think and like that's something I grew up with like I like like it was always very resourceful like it wasn't you know like buying things from charity shops and like customizing things it was kind of very much that was a big thing but I don't know why was saying that again sorry like where am I going like it's kind of also relates to our upbringings because you're from London you're from West London yeah and it's like you know a lot of people who show at London Fashion Week have come a long way it's a show at London Fashion Week and it they come from a different country or whatever is you've not really got anywhere it is could have stayed put and that's also quite interesting like what what role has London and that particular sort of West London cuz all seem like on paper it's like not very cool you know it's not very cool London thing that you talked about in some of your interviews they talk about like enjoying like the posh people in that community and it's kind of it's not cool like you're gonna be like nice London and edgy and just yeah I mean I think the funny thing is that West London I grew up in a bit grou so it's kind of it it didn't used to be pushed and now it is very posh but it is still kind of I still think it's really interesting like it's really frustrating because it's becoming so gentrified and always has been but it's cuz of the film Notting Hill I think that's what happened the literally after that it became a whole new thing I think but I still find it an interesting place to live because there's so many like there's the market and there's like strange people that still live there and have always lived there and and it's quite nice and it's like clean and like it's nice place to go around on the weekends but it is a crap place to live now I feel like nightlife there's like nowhere I want to go out there and even the pubs are quite annoying but but then when I was younger it wasn't a problem because I was like you know I was living at home so it was free and I think going up in London has played a very important part in like everything because I was thinking about it earlier but like it's quite funny that in terms of nightlife I had so many different groups all around London that were so different that I would go out and I just got like every night when I was like 15 if you live in London in that sense yeah the wealth of experience is the ikan encounter a really young age I saw quite enormous whereas a lot of people find inspiration in sort of a mundane 'ti of not being from or like you know a small place that they grew up yeah yeah as you kind of come from that it's quite actually rare to have London Fashion Week designers who are from here in London born and bred so it's kind of you're an interesting example for that yeah yeah I don't know it tells me a bit because you have you given in that in other interviews you've done you have talked about like I guess like the sense of English eccentricity that I find really interesting in your work because it is very English and so in a lot and girls there's a sense of like and you've talked about you know finding sort of like certain manners or appropriateness interesting and yeah do you think I see as being very English and that I'm going weird though that's why I think that's fine talk to me a bit about about that I know English quite weird like I don't know like I get quite I'm quite interested in like there's very weird things are happening like vegetable shows like that's just you know like that those things make me you know and kind of like weird toys that people have made and there's certain things I feel like only exists in England like you can't really explain them to anyone else I remember my friend's boyfriend he just didn't he was America and he came to like this vegetable show like a horticultural show and he just didn't I didn't understand it and he started eating all the cakes because he thought they were offerings and it's just very I don't know there's just I mean that's one thing I can't think of anything else but there are other weird I felt like that particularly like your last show it feels very much about that and a particular kind of almost like a slightly like aristocratic Englishness thing with those you know like just how expend wreck yeah yeah certain people and it feels like that's kind of a part of your cat you'll be the character of your girl but yeah it's kind of wrapped up in that oddness and and that eccentricity that is impossible to sort of label and I just wonder where that's come from because don't know where that's come from because I don't really I don't I'm not part of that thing but maybe that's what kind of interests me I quite like thinking about people that live these kind of grand grand lifestyles I suppose and yeah I think I suppose a lot of the shows have been quite about that but then I think some things have also been I mean we did that sandwich factory thing and that was kind of about being like more like a broke teenager who had to do a you know summer job but yeah I mean also I think fashion is quite in that world isn't it so it's fun to kind of display that in a kind of in a different way and in a more kind of obvious way think people pretend it's maybe not like that but it kind of is like that sometimes for some people not everyone a bit about some of the women who wear your clothes because particularly Rihanna seems to be your like brand ambassador yeah she does how did that happen um I don't know I mean I met Mel Mel Ottenberg her stylist in New Yorker like a couple years ago I think and then but like it was arranged I went to meet him in a hotel lobby and then and then I guess he's I don't know I think it's a loss to him he doesn't good and it's nice because she buys them so like or someone buys them for her and I just think she's quite on it she kind of knows what sports is with young brands isn't yeah yeah and we make her things occasion why does it look so good on that you think she kind of doesn't give a this looks like a cake sometimes she's really not blue honest is there someone who you'd really love to dress that you've not had the show I'm really bad at this question I never know the aunt I never know I don't know I know I never know I'm someone dead if that helps doesn't have to be a current person oh no I don't I never know the answer it's one of those things a bit like when you can't remember like what film you want to watch yeah you think of them all the time and then the minute you have to like maybe it means you do you care that much about I mean I guess you don't really have a style of garlic the fact that you can have like Edie Campbell in your campaign but then Rihanna wearing like great do you kind of maybe there isn't a fixed type of woman maybe that's no I don't think there is I suppose I don't think there is that one news so to speak I like to think of you know I really like it for my granny wore my things but she just she's what tried them on before but she doesn't understand it and then I don't know for me I'd like if all my friends well wore it mmm no I'm gonna forward it that's actually a question I was gonna ask is that is there a strange because you talked a lot about that during inspiration from the people around you and what have you and that there is that strange thing you see it was sort of younger designers often when they are looking at their friends but then they're making plays that no one of their peer group could could afford and yes be quite a strange Australian little dichotomy to be in that position yeah I think it's really hard because it's really hard to make clothes that ah cheap and like shouldn't when you make clothes that achieve because it costs you know it's hard to make something for less than kind of fifty pounds and then in the shop that's one hundred and fifty pounds if not more you know I think it's very I mean it's very hard to make sewing fifty pounds actually and then but yeah I don't really know I suppose it's you've got to kind of give things to people but you there is no other way I don't really know what the other way is unless you do a kind of high street collaboration I don't know and I but I like I think for me I am interested in the fact that like this kind of range plan that you have to do and I'm interested in making things that people can wear and then making things that people can't really wear and I think that's what I kind of that's also what would be my dream to make those make more of those things and would you like to go down the route of doing things like costume and you know maybe things for film or pieces so when you say things that people can't wear how would they exist then just on the runway yeah maybe yeah I mean I don't like the idea that people look at a runway collection and imagine themselves wearing it or buying it because I don't think it should be like that necessarily I think some things yeah but I like I like the ice look at shows and just think of them as kind of like these amazing spectacles that were just so inspiring and then you'd go home and you know go home what I didn't go to shows I mean not looking in magazines and stuff and then you know you do your makeup differently based on what it was in the show or you'd like try and find something in your wardrobe that looked vaguely like something they're all going out and try and make something and I don't love the new idea that you kind of cause I think it is quite a new thing that you like what you see you can have you like shoppes alert yeah I don't I don't love that idea but so when I say things you can't really wear I just mean things that are you know we've made things that kind of can't sell anything less than about 4000 pounds which is like so much money so not many people I'm going to be able to buy that but I really appreciate that the like shops do sometimes buy those things and even if they're just for like to draw people in and they're in the window and they look amazing and like there's one dress at the moment that's in shops that is kind of made-up there's cotton organdy and it's just so stiff you can wear it but it's kind of like paper but it is my favorite thing and I yeah I think finding the balance is hard by and I wish that I could make more affordable clothes but it's interesting cuz it feels like you kind of see it sick you like some it talked about those pieces in the show it's like you see them as being they are for a broad range of people it doesn't matter if they can't buy them it's it so that they can be entertained by them or inspired by them it's only seems that your thing you know someone could be like a Molly girl even if they could never afford your place because they could take on the aesthetic or they could try and replicate it through something they found elsewhere yeah that's quite an interesting idea yeah just feel like more comfortable wearing something that they would not need not wear or I don't think about kind of differently I'll think about like ways of wearing dresses differently I suppose yeah well it's me a little bit just going back before like kind of when you were studying talk to me about some of the places that you worked and your intern because you worked with any I know a medium Kirchhoff as that yeah it just talked to me about those placements and the impact that they've had no I actually worked at Giles Deacon as well when I was about 15 I did like my work experience there and then I went back every now and again and did shows and that was fun I I really liked being there I mean I loved I think I remember being there and kind of like I'd cut a dress out and then for production these like placement print dresses and then in to Selfridges and seeing on the rail and that being like the most exciting thing in the world that I'd had some part of that final dress and then Galliano was fun because it was in Paris and being like with the Atelier I worked a lot in the basement with the art Ilia and that was really fun to see that and I'm kind of being a bit like thrown in at the deep end and we used to just like copy vintage things and make them in the Galliano fabric and kind of that was hard and just I think it was it was a fun time I mean I shared a bed with my friend Annie for three months and then home and she wrote to do and I worked at Galliano's which kind of share stories and and I remember like Stephen Jones coming in and it was just really exciting it it was really exciting and kind of and seeing how things were made and I learned a lot about kind of like cutting actually in like bias cutting and degradation Kirchhoff was really good because it was in London and it was fun I mean I think that they're both were quite good internships because I had did a very varied mixture of things I did like lots of errands and then lots of making but I'm not sure I learned enormous I didn't kind of take in which I wish I had done like what it actually means to then to like run I didn't you don't really take note of the others like actually what's going on especially if you're not planning on having your own label you know you're kind of just yeah yeah but kind of quite difficult placements in a real sea because I mean Galliano obviously is someone who you saw the effects of this of the pace of the industry yeah and with medium petshop you know that that label really sadly is no longer around and was there any element of spending time in those in those companies that has also you know been at something of a warning sign and you've does that not scare you that's really intense but but do you wear their elements have been there where you saw that sort of darker side of fashion and how punishing it can be I would say maybe that one of the things I learnt was to be very nice to people because I think I'd like to think I'm quite nice to people but the people that worked for me but you know I do remember at Galliano being kind of like you know the guy in charge of us would um make us stay really late even though there was nothing to do and those you know like that I don't think you can really run a business if you treat people like that not run a business but I don't think like you can maintain it if you do treat people like and not that you know don't really value everyone that works for you and I think I think it happens so often in like fashion and everyone is expected to like work incredibly late the whole time and actually I just find it really unproductive doing that so but I suppose that's what I was saying I didn't really take know of that side of things I just thought was like fun to be in fashion and making clothes and I didn't really look at that side of things and or note you know it's hard to to notice it would you ever want to go to a big house don't know have to be the right one I don't know maybe you'd be fine I mean I quite like design into a brief sometimes so like and I'd be very excited to see you know like the archives of certain places but I don't know that would be in a very long way off I imagine you have sort of shorter term goals or pipe dreams that you're like I need to achieve this that will be success for me or no not really you're just I do think at the moment it's very much about like II like things have always been quite hard like very hard work you know it's like always a challenge and always a stress and always so like to be able to do a show and it kind of just goes smoothly it would be like that success for me I suppose and the last one was actually quite smooth I'm really happy afterwards yeah I was quite chilled we had some champagne before and I think that was really like I was waste it was it was just very help I mean it really made it go lot run a lot smoother I think you read reviews or do you try and avoid all of that yeah I do you yeah you find it okay yeah never had any really bad ones another reason to be nice to people ah another reason to be nice to people yeah that's true what's next then what is next we've moved studio which is really exciting we've moved to East London that might be a I don't know that might make a change just I don't know what it's really good it's a big beautiful space so what I don't know what's happening I think I mean the next show the next shows the first show that we don't have sponsorship from the British Fashion Council like new Jen officially don't think so kind of that's quite fine in a way because I suppose it feels that we've got a bit of freedom to kind of really flown the nest yeah but also terrifying because we need quite a lot of money to do it but I quite like having a limit you know it's I find it quite you said you have to be under pressure Suzuki yeah yeah I like I feel like if I had a endless budget I don't know I would never be able to decide what to do so it's quite good to kind of I find it exciting I suppose oh that would be nice to have it fit of a budget I think that's Nick so yeah we'll see what happens at the next show or if it all goes tits up because we don't really money anymore I don't know we'll see thank you Thanks having me

Channel: SHOWstudio

Views: 11,719

Rating: 4.8644066 out of 5

Keywords: fashion designer, fashion, Molly Goddard, Lou Stoppard, Nick Knight, interview, SHOWstudio

Id: MGzCnW1Rjs0

Length: 44min 2sec (2642 seconds)

Published: Wed Oct 18 2017