Today I'm going on a sartorial Journey with actress singer
producer radio presenter, the star, who's known as the first
lady of British musical theater the wonderful, and Brilliant
Elaine, Paige Obe, welcome Elaine.
It's so wonderful to have you here.
It really is and lovely to catch up with you again, while it's
been a while as you have been a while we go back, many, many
years. And in fact, I was flicking
through Google search as you do the other Day on images and I
thought oh I recognize that coat.
Oh, I recognize that fraught. Well you did make many many
wonderful pieces for me. Didn't you did over the years.
Yes. And early days, Terri early days
and I think I had travelled With You from One sort of shocks to
another Studio to address and of course, yes, you made me
wonderful pieces that Hot. What I loved about your designs
were that they were simple and straightforward and for somebody
that small like me, that's the perfect look because, you know,
if you're little, you need something that elongates you and
gives you height and the Simplicity of your designs, help
me in that regard because it were, that is incredibly kind of
you. You were one of my very, very
early was I cut I didn't know, I was there.
I mean you were trying things out.
I do remember one panic moment of, you know, you were coming
for a final fitting and I went into the workroom to just sort
of check on your dress and thinking, oh my God, we have
just chopped too much of the bottom.
This is an because I never think of you as being as petite as you
are. And I really had that moment of,
oh my God, this is going to be waiting.
Way too short that it wasn't perfect.
Oh my goodness. So what have you been up to?
What's, what's the latest? Well, the latest, you know,
after the pandemic which you know kept us all rather grounded
throughout nevertheless. I did do my radio show we never
missed a week rumor has it. But next year is 60 years of you
in the industry. And is that true?
Isn't it frightening 60s Wheezing.
It's a credible achievement. Well, I suppose, I don't know.
I mean, it's just you don't think of it like that.
Really just think crikey ever. I really been around that long.
But yes, yes, it's going to be 60 years next year and so we're
sort of making plans going to show you allowed to share any
other great that. Yeah, well, you know, I'm
writing my autobiography and to the memories come sir, pardon
the pun. So the memories keep flooding
back when I don't back. Keep flooding.
Back at you, have to. It's quite an interesting
process writing, isn't it? Something quite new to me,
really, you know, you sit there staring at the computer and
thinking and thinking right now because somebody said to me, you
write the first ten years first, okay.
Yeah, got that. Ha ha, you go home and you
think, oh, how am I going to drag those childhood memories to
the front of my brain? But once you actually sit there
quietly and sort of think about, It it, it is amazing.
How you can sort of, remember, a few things anyway, which I've
managed to do and like with the help of photographs and so on,
you know, that that sort of jog, someone's memory, that there are
brilliant, brilliant, each other.
Yes. Brilliant source of being able
to sort of lurch forward into that.
So, I've I've remembered things that are quite amazed myself,
that I even remembered, if you see what I mean, while we're on
that, I know. Your mother was a milliner.
She was growing up. Yes.
Do you have memories of her Workshop?
I think I learned my idea of clothes and fashion and style
from her because that was my first idea of seeing anybody
dressed well and she always beautifully dressed and she
would never leave the house without a hat and she used to
say no you're not, you're not properly dressed.
Without a hat. And she always wore a hat, even
if she was just going to Sainsbury's and wasn't shocked
that she had made. Usually.
Yes. And and I can remember in the
house. We lived in a maze in it, in
Barnet High Street, there was in our bathroom, the bath there
were often there was often that cold water, sort of immuno, 18
inches of cold water and this stuff called spot ra.
Don't know if you know what that is, but it is sort of a mess.
Type stuff and she used to have a role of this, you know, laid
out in the bath, it had to be wet because when she took it out
of the bath it would be malleable.
Yeah. And she had like a wig stand a
hat stand and she would shape the spot ra on the, on the
headstand and that would be and then leave it to dry.
And that would be the base of the Hat.
Yeah. And then I can remember watching
her create these are amazing concoctions of hats and they
would be depending on the season.
Some would be made of felt some would be made of straw.
If it was the summer, she use feathers and velvet velvets.
And, you know, depending on the season she would use various
materials. And you help garnish 1?
No, no. Never, never.
What are you ensure? I watched it all.
I mean I would watch this from nothing appear in this Beautiful
creations. And did you ever have any idea
of following her into that or were you always in front of a
mirror performing, do yourself? No, I can't say.
I know I've never stood in front of a mirror performing to
myself. You never are because I am not
one of those persons with the hairbrush cavorting around
pretending to sing. No, never never.
Never no, no my own my own creativity.
I think was, you know, in the front room of my of this flat
where we live just Mason it. And I had a doll called Pamela
and she was about 18 inches tall, I suppose.
But she her arms moved and her legs mood, and she blinked and
things. And, and I used to spend hours
in there on my own, as if she was, I was her mother and she
was my daughter and I'd create scenarios.
As if I was with her and talk to people fat people, they weren't
there obviously. But, you know, it was all in my
imagination, but I would create these scenarios and scenes.
And night, she'd always be with me.
So that was my. And if anybody open the door, my
mother said, alright, Tea's ready or something I would stop
immediately. Did you dress up for those?
No performance as so that I had, just, yeah.
But do you remember the first time that clothes really had an
impact on you? That first well fit that I do.
I do because, you know, as my mum, you know, as I've just said
she would, there was always a hat on the go and I think the
first time I must have been about 10, I bought can't believe
it. It was bright orange would
Tangerine Tangerine, it was tangerine, and it was, it had a
sort of a Mary Quant type collar, you know with buttons.
That stood away. Yeah.
Like a 60s kind of. Yeah.
And with any, it was just like a swing back, you know, it was
like an a-line shape with a swing back.
And it was, this brightest brightest of colors, and I
decided the idea of it. Now course, to team it to
accessorize it with lime green shoes, gloves, and handbag, and
my mother made me a pill box. Hat that I did sit on the back
of my head in alternate Stripes of tangerine and lime green
because imagine sounding very 60s.
I mean gosh you really did have had to have confidence to wear
that I can tell you. Oh my goodness me but that was a
definite fashion statement and that was the first time I can
remember and I wore this thing with confidence and I thought
well you know so yeah I guess I was about 10.
The first that sounded incredibly grown up for a
ten-year-old and of course, you have to remember again, in my
youth, you had clothes that you would keep for best that you
don't wear at weekends or for special occasions.
Yeah. And that was, that was my first,
my own, you know, that I had seen and obviously my mother
bought it for me, but that's what I wanted.
And she made the hat to go with and it was a proper full
accessorised outfit. Oh, And you felt I felt a
million bucks. Oh, I thought was a million
dollars in it. Brilliant, and then, just
spinning on. You go to you.
Go to a performing arts college, I did and and then you get into
auditioning. Well yes, I mean, you know, I
suppose the next sort of, in terms of fashion and clothing, I
suppose would have been in the late.
Is because I wasn't into clothes particularly when I was at drama
school because that was all about character and, you know,
thinking about and dance in a ballet and tap and that.
So it wasn't about fashion, it was more cerebral and I suppose,
but then in the 60s, late 60s, the musical hair came along, and
that was probably my first West End outing.
I was in the chorus very much. So in the Chorus.
Although I understood which it was the only time I ever did it
because after that I decided never, again, I read that and I
was fascinated, never doing that again far, too stressful.
But of course, you know, and then we had Mary Quant, you
know, as I said, I was already leaning that way, with my orange
and white Tangerine coat and, and there's Mary Quant
Kensington Market because that was the first sort of that
modern store that. He had and everything was in one
place, you know, there were there, all kinds of things.
They're not only. Did you have the, you know, or
rather? I mean, look, I'm never, I
haven't gotten out of it really have.
I I mean it could be back then I could be back there now accept.
This is Chloe and I bought some kind of take on the same thing.
Yeah, I think often in a way when you're, you know, in your
teens that sort of makes you, it sort of sets your taste.
Yeah. Yes.
And that's right. I think there's something that
we do tend to always back revert back to early feeling of this
feels really good on ya. I feel really?
Yes, it's rice and you can end up reversing back to, I think
that's what it was. Yeah.
So that was so that was that. And then of course there was and
it was all the op art look, wasn't it?
Yes, you know, and Abstract, sort of abstract mini dresses
and, you know, Knee-high boots and bell-bottom, trousers and
stripes and corduroy. Trousers, remember those?
And Polo neck, T know skinny, skinny ribbed.
Yeah, it was a real knitwear Adventure, wasn't it?
It was an adventure because it was the first time as well.
Wasn't it? That fashion became something
that accessible to all of us? Did you ever in those days
shopping second-hand shops? I did well Kensington.
It was always second hand. It was a vintage as well.
Yes. And yellows and indeed for my
first audition for Evita and, and thereafter.
I wore the same dress and every time I went, I bought, I bought
a vintage dress here Kensington Market of a vintage 40s, little
blue tiny, little blue, patterned dress.
And you know, that was sort of pulled tied at the back and I
wore it every time I ever went for the audition in Hope that
they would think. Oh, it's like girl in that blue
dress again, I was going to say was the relevance of wearing the
same dress or was it a lucky dress or no.
It was I it was a decision. I made thinking that they would
it might jog their memory to remember though it's that girl
in the blue dress. And so I wore it every time and
anyway it was a 40's dress on those show was set in the 40s so
it was important. But to me that I was wearing
something that would help me feel Like I was the character
and I would pin my hair back at the sides and put combs in the
side because that was a very 40s.
So hairstyles, I'm trying to be the character.
Well I you have to travel now you know when you're auditioning
for something is as important that as that was to me, I really
wanted to play that role. And and so I thought, you know,
you've got to, you've got to kind of give them an idea that
you've been thoughtful about. Yeah.
You know that you care enough yet?
To go to the the bother of painting, a sort of a picture
for them, make it a little easier for them to imagine you
in the role. You've played some incredible
characters in musical theater, with some equally incredible
costumes. I mean, I think of grizabella
and cats Norma Desmond in Sunset Boulevard and Eva Peron in Evita
as my three favorites, probably in terms.
Zuv costumes, but you must have incredible memories of all of
those costumes. The VNA are doing an exhibition
and next year about musical theater, and they are looking at
some of my costumes from some of the musicals that I was in to
put on show. And of course, one of them that
they wanted to know about was Evita and sadly, that's the one
show that I don't have any costumes for Because I was
unknown, I didn't couldn't have that written in my contract, but
I wanted to keep the costumes. But thereafter, of course after
he beat her, I had written in the contract, I keep the
costume. What was the fitting process?
Like, well, the fitting process for both Evita and and sunset.
It's exhausting and especially because in musical theater, you
is not just one gown, you're making for somebody.
There are several costume changes.
Yeah. Yeah, in all these kind of
shows. And that's the thing that I
found most difficult with Evita because I would be rehearsing
all day long from 10:00 in the morning until 6:00 at night.
And then I would get maybe half an hour for a sandwich and a cup
of tea. And then by seven be at the
studio having costume fittings, which would go on sometimes, so,
9:00 or 10:00 at night and I be standing there being fitted with
the toile, all the detail of the bit in here and up there and all
the rest of it. It was it's pretty exhausting,
but it's also at the same time, I mean in the book you'll see
there's a photograph of me being fitted and I'm got my hands up
to my face while they're sitting me with the the ball gown that I
opened act to with, Don't Cry For Me Argentina, and you can
see it in its very early beginnings of being made.
So it was very exciting as well to see these wonderful Tombs
begin to come alive and resemble, a fantastic outfit.
But the added complication with you, I always thought was when I
was doing anything for you, to perform in was, okay, Amanda now
take my measurements as I breathe, you know, as I breathe
deep breath in. That's right into my diaphragm.
And I remember thinking it laying, there's a two inch
difference there are, you know, and, and thinking how Do you
create this amazing fitted silhouette?
That has to expand and contract like that.
Well, if you remember, we used to use some kind of elasticated
bodice, a gentle elasticated bodice, which would allow me to
expand my diaphragm. As you say, a full two inches
of, probably more with extraordinary and, and then be
able to, you know, when not needed it would the dress, or
whatever. Would would fall that all back
into place but that that was always a consideration for
musical theater costume because because of the diaphragm and
intercostal diaphragmatic breathing that that you have to
use as a technique to get you through.
Eight shows a week. Did you ever have any mishaps
clothing mishaps on stage? Oh, generally speaking, I would
say not now. Because they were all so
beautifully made and some were made, especially for lightning
quick changes. So they're being velcro and all
kinds of things involved. Ha ha, but no, I can't think of
anything really Godly that ever happened, in terms of costume.
I've always been fascinated by this tradition of going to meet
the star in their dressing room. Post-show.
And and it's always, I've always think about It.
What what happens? You've had you've been on stage
for two and a half hours and yet, you've got people who are
dying to see you, but do you. I always have this vision of you
and some sort of Deaver ask kimono, is that, is that
something you ever considered? Because I would imagine you were
dying to get out of. You're probably quite sweaty
costumes by then and then having to sort of Eight
post-performance to meet and greet more.
We always used to refer to it as act 3.
And indeed I would have some rather wonderful kimono to greet
people in because, you know, you don't have time to shower and
change and you know so you have to have something that you can
greet people in that's respectable and so I would have
all manner of different types of Towns or kimonos or dressing
dressing gowns with. In fact, I think you made me
one. Didn't you did?
I think it was Lou, it was navy blue or yellow blue and it had
was very frothy feathers. I don't, they did rounded
beautiful down the side. Yes.
So so, you know, it would be a glamorous dressing gown or a
kimono or something like that. And I also had a week made for
myself because obviously the worst part would be A that your
hair had been pinned under all these Wings weeks.
So, when you took the hairpins out, you'd look like Shirley
Temple, you had wig head. So, I get bad.
And so I had this wig made, which was rather beautiful.
It will be dressed every night and I would pluck the wig on,
oh, my head, and then swallowed out for act, three to give
everybody a glass of champagne and to stand around and
chitchat. And So on but feeling I looked
okay because I had my act 3 costume and we're gone.
And how quick could you do that? Your turnaround for out of
costume into act, 30 could do it because we leave unless it was a
dreadful makeup or something that you'd had to tone down.
I could do in the space of five. Ten minutes I'm talking about
makeup. Did you at that stage?
Would you be toning down your own makeup or would you have
some fabulous makeup artist? No, I never Had a makeup artist.
I learned that at drama school. Wow.
About makeup, you know, and I'm like America when I performed on
Broadway, though. They do have makeup artist and
you have to go to makeup room before the show starts and you
are made up by a makeup artist but in Britain we don't have
that. You do your own makeup and do
you find that the ritual of doing your own makeup?
Is almost part of the getting into character?
Absolutely, right. It's The most wonderful
transformation. Yeah, because you see yourself
and then you begin to disappear and become the character.
I've got to just talk about hair for a moment.
My gosh, because we have a wonderful array of images here.
I mean, talk to me a little bit about your hair progression.
Well, I have the most dreadfully curly I would say, not
attractive curls its frizz free fall hair.
I have naturally as you can. Well, see in most of those
photographs, little girl. Well miss of course, mother
loved it all lunch go with curls but oh my goodness, it's been
the bane of my life, all my life.
However, you can see today, I've suddenly not rot suddenly, but
over the years I've learned how to manage my curly locks and I
do everything I possibly can to keep it straight or curly locks
got Later Through The Years. So they're exactly the same if I
leave it. It's exactly the same.
I think that's incredible. I'm not one for been going on.
Beach holidays. Complete rest.
Oh, it's terrible. Look at it.
So I always have to make sure I have all manner of hats.
Thank you. Mom, I have all manner of hats
to cover the beach hair, when I'm on holiday, but in the 80s,
you never needed a perm. Now, I didn't as you can see.
All natural. Well, we were all sitting having
horrible chemist but on our head that looks ridiculous.
That was the only time it came into its own.
When did you go blond? Because you were as, as long as
you can see, a lot of sort of mousy Brown.
So I suppose I guess it would have been, you know, in hair.
And as I was sort of coming out of my teenage years into my
early twenties, I suppose and I had a boyfriend who happened to
be a hairdresser. And I think he was the first one
to say to me, why don't you have highlights and he used to
straighten my hair and so I would have this whole thing of
you know it would take hours to I can't remember which way
around. He did it whether he
straightened it first and then put the highlights in, but how
my poor hair survived all this? These chemicals.
I have no idea. It was probably in the era of
pulling it through a horrible swim cap.
Yeah, that's right. Talking.
I mean now you're your Performance.
So your weekly performances your radio show.
Yes. And do you.
I know it's radio. But are you conscious about what
you put on to go and perform? Well, you know, obviously it's
radio so nobody can see you. And you say, you go to the
studio and you don't have to go into hair and makeup.
However, again, I think it's something that I learned from my
mother but she'd never leave the house without a little makeup.
And as I said earlier, wearing a hat and properly dressed and I
think she instilled that in me. Do you think that your weight or
your perception of your weight, affects what you wear, your
weight, does affect your choice of clothes?
I mean possibly why? You know, things like this I'm
wearing today. This is a Chloe, kind of jerky.
I don't know what you call it. That's what we used to call it
and it's long so I know that that kind of Might hired a few
things that I don't want higher. Remember you were always
unbelievably aware of proportions and perhaps because
you knew your body and your silhouette.
So yes yes. But I would that, you know,
early days in my in my design career that impressed me so much
that you knew exactly the length of sleeve.
You wanted to flatter your yep. Your well I think you know again
Then it's probably, I probably learned a lot of these tricks
and things that, you know, about how you look in something
through all the costume. Fittings, that I had very early
on in my career, my theatrical career, you know how standing
there for hours while people say, oh, no, that's leaves.
Got to be over the hand or no, it's got to be three quarter
length because, you know, so you pick things up.
Yeah, I'm from people that know what they're talking about.
And and as I said, To you before the fact that I'm short.
I know, for example I would mostly like to wear one color
from top to toe because that gives length if I very rarely
wear belts because they cut you up.
Yeah you know the top half and the bottom half so you know and
and one learns those kind of little Things to tricks tricks?
Would you say you've got a style icon?
Not really I mean I I you know looking at magazines and things
you see all these gorgeous models wearing whatever you
know, fantastic photography, beautifully lit, so on and so
forth, I can admire that and the way somebody put something
together, yeah, I can admire that because that takes some
learning as well. I mean, with Evita and from
about Twenty years or more onward.
I didn't have time to go shopping or anything.
So I would have a wonderful designer wear, what?
She was stylist, stylist and Monique.
My French stylist would come to my home armed with either cases
and cases and bag full of full of clothes from various
designers. Yeah my favorites for example
were like people like well, I'm Arnie of course, because they
weren't like you rather And clean-cut and Izzy Miyake.
I used to wear and you did. Yes.
Azzedine, Alaia. When I was really Slim because
they were very tight. Clinic clingy beautiful clothes,
and Thierry mugler Thierry mugler, you know, so that I had
favorite designers, and she would bring all these things.
Did you ever let her take you out of your comfort zone?
Oh, she did. And again, she taught me a great
deal about having to be daring, you know, it has to go with it
and and Did you ever refer back to okay?
And looking at yourself in the mirror her saying this is
looking great. And if it did you reach into how
do I feel in? Yes always I think you've got to
feel comfortable. Haven't you with what you're
wearing? You were talking earlier about
writing your book and referring back to photos.
Do you did? Are there any photos that you
look at? And you think oh my God, that
was probably my worst fashion moment.
Oh yes. I mean sometimes.
I think, what was I thinking, why would I have ever thought
that looked any good, but was the one particular one.
Well, that's one I've got and it's, it was revolting, my
mother. My mother wouldn't walk in the
street with me with it, and it was a mere hair days.
And my hair was long and sort of freeze ball because that was the
period. You could get away with it.
And it was a sort of it had a pattern on it, you know, skirt
too. But it was three quarter, length
sleeves, And I had green dark green pearlized shoes.
You know platform shoes with a big thick heel and a strap
around the ankle with this trick, full skirt.
And then I would wear, some kind of weird like little short,
little ribbed, skinny rich, skinny, rib sweater with it and
my hair was like a, my mother. It would look at me and say
Elaine, you're not going out like that.
Are you? And I go?
Yes, why? I think it looks fantastic, I
thought I look one but, of course, now looking back on it.
And I've seen pleasure, I just think, I don't know why she was
right, and I couldn't see it, it's a rite of passage has of
when you're thinking about travel.
Do you have? Do pay particular attention to
Your airport. Look yes.
Well obviously one has to know that you're going to be very
comfortable because you're going to be sitting on a plane for
however many hours and and I always think that if you're if
you're sort of A well-dressed or better dressed I think if
anything should go wrong with tickets or cases or anything
like that, I think you're more likely to be paid some attention
than if you are standing. I'm there in a pair of shorts
and flip-flops nothing to do with the person that you are, of
course. I have to think about it.
So humble. Yeah.
So I have I have kind of got a couple two three some kind of
things that I wear only ever wear on the plane and they're
usually things like is he Miyake that are ribbed you know
trousers but they're on investigate placed.
I don't know if I dare say that but you do because you know you
know for when you get on a plane you don't want to be Or
constricted do. So I've got a very nice is in
the, a key black. I've had it for years.
The thing I love about it is that it still looks absolutely
fantastic. Because of all the ribbing.
Yeah, and and it's a black three-quarter, length jacket
with three buttons down the front and like a not a Raglan
but almost Ragland kind of sleeve and and these fabulous
trousers, that just hang and look fantastic.
The weight of them makes them. Look, fantastic.
And so that with a fabulous scarf of some sort is a great
way are, you know, in a Polo sweater or something, or some
kind of a t-shirt, nice teaching crisp, t-shirt or a white shirt
underneath. It looks absolutely.
It's simple again but it, but it looks sharp and it looks
fantastic. Feel polished.
Yeah. And I'm comfortable but just
comfortable. I feel comfortable but I know it
looks OK as well. Yeah, you could pack up.
Bad Packer. Oh good, good, I've got that
down had to die. I was I was, you know, all over
the world, traveling all the time to this and that and the
other place I had to have to learn how to pack and cirno Diva
asked six suitcases, not now. No, I'm not even then because,
you know, if you were traveling to Singapore or the Great Hall
of the people in Beijing, the white house, wherever it was,
but list of name drops while I'm, I just thought I was show
off for a minute, but you know what?
Traveling long distances and you know, you're going to have to
perform the other end. I did learn having lost my
luggage once in Vienna the be a lost my luggage and so I had
nothing to perform him and so I did learn to take my costume,
the cot that the concert dress, whatever it was.
I was going to wear for the performance.
I would take that by hand with me onto the plane.
I'm just turning to you, your wardrobe.
Is there anything in particular? Cooler right now that you're
lusting over that, you've seen in images.
And well, I have to say Amanda that these days, I mean my
wardrobe is full of clothes. I've got, I don't know, two,
three, four wardrobes. And they're all chock-a-block of
clothes and I keep looking at me.
I've got, I've got to sift some of this stuff out.
I'm less interested these days in Shopping and buying clothes
partly because of the environment and we're all aware
now that we can't keep on making landfill of clothes that we
don't want to wear anymore. And so they don't know what to
do with it. And so they're making landfill
and the things that I love, for example, you know, I know you'll
probably laugh at this, but you made for me a wonderful.
I think it was crepe black skirt.
Kurt and a three-quarter, length jacket and and it's one of my
favorite pieces and I still have it.
Now how long ago you made me that I do?
That must be a full 30 years old.
Well it still looks fabulous, Welsh a potent and you really
wore it today but actually I can't do it up so I wanted to
feel comfortable so I didn't bring it.
But but you know what I'm saying is if you are Me about shopping
and buying clothes today. Why when I have beautiful pieces
like that but look as sharp and as fabulous, what not quite
perhaps but they still they look fabulous, I feel great in them,
they're classic pieces and vintage pieces, I've got vintage
pieces, older than that. But why do I, you know,
beautiful all the Couture things that I had made by you, and
Tommy Nutter. He made my goodness.
Yes. I mean, member him.
He was a young man's and Taylor really genius Taylor in Savile
Row. All the guys went to him and
course, so did the girls we went to him because we wanted to have
those sharp jackets as well. While I've still got one of his
people easing nadila Vale in beach and place.
She may be some Exquisite pieces, fantastic silks and
beautiful materials that she she would get from from Paris and a
lot of hand-embroidered. Great articles that she made for
me. Why would I want to go and buy
something at Great cost today? Everything's so expensive when I
already have a handmade piece, that looks absolutely fantastic.
And every time I wear it I mean I don't wear it all the time.
But you know, I put things away some of these vintage Pieces
away and then a few years go by and I bring them out, luckily I
can still get into them and whenever I do wear them, people
comment on it. Yeah.
And you think well why do I Go and buy something new.
And I've already got these beautiful things, right?
Let's swing around some quick fire questions.
These are just literally could be a little anecdote or a
one-word answer whichever whichever you prefer.
So in terms of costumes Evita or Sunset Boulevard?
Well, that sounds fair. Well it beats up because it was
the first and it and it was Chris.
Deal. And but Sunset Boulevard for
drama which fashion trend, would you like to see make a comeback
60s fashion trend, that you would like to consign to Room
101, 70s views on tattoos hateful.
What's the one fashion item? You couldn't live without a
black roll? Neck sweater sneakers are
stilettos. Well, I'm afraid to say nowadays
sneakers I've got drawers and drawers, full of lovely Manola
has Louboutins. So it's really sad and they all
look at me every day. When I open my, they wink at
you. They wink at me.
And I look at them lovingly, and sort of say to them quietly,
don't think you're ever going to get another day out.
Do you mind me asking what size? They are two and a half.
Party where all PJ's but depends, doesn't it bit of both?
I think shapewear or sexy shapewear puts your body in the
right place. Oh no awesome.
But one has to go there on occasion tights or stockings.
Oh well again it depends. I'm finally finally.
Finally one last question. At the end of the day, what do
you or don't you? We're in bed.
It's a bit revealing, that's the point.
Well, I don't good for you. Naked as the day.
You were born. Absolutely.
I can't begin to think how awful a 90 would be Elaine.
Thank you so much for your time today.
It's been quite a romp of a journey where your career your
life and I cannot thank you enough, man.
It's been so lovely to see you again after the fall leaves
years. I know.
And so much history. And you know what?
We're still here, we are still here.
So as the song goes Thank you. You're welcome.